architecture.arqhys.com/architects/antoniobonet-biography...

ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.

Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.

This is the model R/C tank I am designing on a gearbox + Tracks & wheels from Tamiya. The radio is Hitec and two receiver servo outputs feed my microcontroller-based Pulse Position Modulation output into Pulse Width Modulated power output to the two motors.

Full details at www.5volt.eu

In this video ( www.youtube.com/watch?v=B3Z8wXlJV8U ) I'm using the Matrix Mixer for feedback synthesis, a combination of FM synthesis and

distortion feedback, where you can actually cross-control various pitches, achiving polyphony and some

other interesting tone-modulation effects, ranging from wailing tones to more organic textures

For custom ACTIVE Matrix Mixers write to: noizhardware@gmail.com

The MoofTronic is a miniature synthesiser.

It uses a stylus to play 8 different notes(one octave in the key of C). It also has a small antenna that when touched, controls the modulation span of the note being played. It creates a fast modulation type sound, it starts making the crazy noises when the antenna picks up interference created by the output of the speaker.

It measures about 3cm x 1cm and is based around a 24pin ic holder. The notes are generated by software programmed onto a Picaxe 08M microcontroller which also has a small speaker mounted on it. Its powered by a 9 volt battery.

“Am I even human anymore? My heart is machine. My brain is mostly machine. Where does Lazarus the man end and Lazarus the robot begin?”

- Lazarus Lowenstark, Engineer, Pilot.

World Union Task File 897WB-7: Lazarus L. Lowenstark’s Known Bioware Mods.

Author: Kenneth Foiles, Biotech Engineer

** Combat Mods: None.

** Dermal Armor / Bone Integration: None.

** Physical Modifications, Wired Reflexies, Synth-Muscle: None

** Processing/Communications/Data Modifications:

Wet-Tek* Mark 7 Central Processing Unit with genetic wet wash brain modification. Portions of his brain are modified technologically, but portions are replaced with genetically engineered technology to synch up with that technology. Also implanted are Bioware Datajack port, and wireless information processing and remote assistance technology. Functionality: This variant of the standard Datajack / CPU technology allows Lowenstark to receive/transmit/process information from a variety of sources, including standard laser communications, the internet, and digital satellite communications. These processes and access are effectively tied with his active thought, and as such, he can manipulate remote devices, communicate, or surf the internet internally.

** Sensory Technology:

Complete Eye Replacement using Biosoft’s “Total Fix” bioware. Eyeballs are semi-organic hardware, linked directly to the CPU. Thermal Imaging and Low Light vision options are standard, as well as telescopic capabilities. Eyesight is better than perfect, offering a high definition quality to standard vision. Flash resistant, damage resistant casing is optimal for battle situations. System uses Living HUD version 3.5 for heads up data displays.

Inner Ear modifications are virtually full convert. Cochlear Implants provide a datastream of information to the CPU, and are resistant to external trauma. Noise modulation is also controllable by the CPU.

Signal Search* provided by Wet-Tek infosystems, and include heat detection, signal detection, and a wide spectrum of wave and beam detection hardware.

** Additional Vital Modification:

NuNerve* complete nervous cluster replacement: Controls nervous sensations and their impact on the brain, as well as has the capacity to modulate sensation delivered there.

The Heart, Liver, Kidneys, Lungs, and large portions of the digestive, endocrine, and respiratory system have all been replaced by bioware and cyber technology, optimizing his bodily functions, extending his lifespan, and giving him strong resistance to poisons, toxins, and trauma damage.

A fallback single transmit Tx coil option was left on the high acuity headset to offer a simple wireless power transfer where the coil is optimally placed directly in front of the eye. A Direct-Digital-Synthesizer running at 50MHz allows full control of Magnitude, Frequency and Phase with the added advantage of providing hard wired high speed modulation control. The DDS allows precision resonance tracking at resolutions below 1Hz allowing mutual inductance and eye movement compensation between the external and implant inductive coils similar to a DPLL. the output frequency is set to track the resonance of the series-parallel tank circuits notionally set at 6.8MHz. Small changes in mutual inductance resulting from eye movements can be easily tracked using VI phase shifts.

National Gallery of Denmark, Copenhagen: This depiction of the artist's wife, Amelie, is one of Matisse's most famous paintings and a masterpiece within 20th century portraiture. Much of its strength resides in its simple geometric structure and in the way in which the colors are combined. Spatial modulation is pared back to a minimum. Effects of light and shadow, which would have added depth to the image, have been translated into planes of color instead.

The painting was presumably painted in the autumn of 1905, when Matisse had returned to Paris after spending a summer in the fishing village of Collioure. Here, he and Andre Derain engaged in ever-wilder painterly experiments intended to release color from its descriptive function, allowing it to act as a force in its own right. With its unorthodox use of color, the painting is built on those experiments.

The Tektronix Type 191 Constant Amplitude Signal Generator. It's an RF signal generator but it does not have any modulation input.

Oddly, at about the same time I was taking this shot, Pikebubbles was taking this shot, which definitely has ducks. I can't help but feel that the presence of ducks enhances light painting considerably.

Image of the bottom of the HS02 headset showing a High-Q Tx Coil interface. Three (3) coil drivers were removed from HS01 requirements and subsequently replaced with a (fallback) single Tx transmit coil driver on HS02 to make room for a galvanically isolated percutaneous plug interface. The loan planar Tx coil is driven via a 50MHz DDS that includes programmable quadrature phase and dual frequency high-speed modulation control lines via feed directly from the Virtex6 FPGA. Also included in this power transfer block are voltage and current monitoring circuits including logarithmic impedance and phase converter IC providing precision monitoring of transformer load characteristics

Specification

Coach Model MAN 18.350 HOCL/R

Chassis Length 11,850 mm

Chassis Width 2,526 mm

GVW 18,200 kg

Engine Type

Vertical, Water Cooled 6-cylinder 4-stroke Diesel Engine

With Common Rail Injection,

Exhaust Turbocharger and Intercooler

ECR, Replaceable Cylinders Liners

Engine Model MAN D2066 LUH13 Euro 4

Displacement 10,518 c.c

Maximum Output 257 kW (350 hp) @ 1,700 rpm

Maximum Torque 1,750 Nm @ 1,000-1,400 rpm

Bore 120 mm

Stroke 155 mm

Fuel Capacity 300 dm³

Transmission ZF 6S 1900 BO 6-speed Synchromesh Manual Transmission

ZF 6 HP 504C 6-speed Automatic Transmission

Voith D864.5 4-speed Automatic Transmission

Drive Axle MAN HY-1336-B

Suspension Capacity 13,000 kg

Front Axle MAN V9-82 SL

Suspension Capacity 8,200 kg

Brake

Dual Circuit Air Brake System to ADR Directives by Wabco

Front and Rear Axle Disc Brakes

Electronic brake system EBS (ABS, TCS)

Auxiliary Brake Manual Transmission: Engine Brake Valve (EBV)

Automatic Transmission: Integrated Retarder and

Water Cooled with Electric Pressure Modulation

Suspension

Air suspension with 6 identical rolling seals

With Integrated Elastic Stroke Limiter

Electronically Controlled Constant Entrance Height

Suspension Characteristics Under All Load Conditions

Front Suspension 2 x Air Bellows

2 x Shock Absorbers

1 x Level Control Values

1 x Stabilizers

Rear Suspension 4 x Air Bellows

4 x Shock Absorbers

2 x Level Control Values

1 x Stabilizers

The amplifier with elegance. Gracefully refined and dignified.

# Features: A solid state amplifier pre-tuned to sound similar to our ultra high-end Musee acoustic amplifier series.

# Individual input level control with allows each channel to be independently controlled for multi-channel system, or 5.1 channel system.

# Pulse width modulation power supply built with toroidal core transformer for great response to high frequency and current capacity. Power supply keeps steady voltage and provides wider dynamic range.

# Powerful output final stage driven by Pc=100W 1c=10A bipolar power transistor in a single push-pull. This provides a simple and uniformed output sound.

# Blue glass epoxy circuit board for durability, reliability and endurance. 70um thick copper foil is also used for all wiring.

# High density aluminum chassis with real wood ornaments provides the elegant look and the luxury satisfaction as well as the functionality as a heat sink.

# Cooper plate backing.

# Specification: Rated Power: 70W x 4ch (4Ω) (210W x 2ch(4ΩBridged))

# Maximum Output Power: 140W x 4 (4Ω)

# Load Impedance: 2Ω - 8Ω/4Ω - 8Ω(Bridged)

# Input Sensitivity: 0.2-5V (Each channel can be individually controlled)

# Total Harmonic Distortion: 0.01% (1KHz/4Ω)

# Frequency Response: 5Hz - 100kHz (+0,-1.5dB)

# Signal-to-Noise Ratio: 100dB (1KHz/IHF-A)

# Standby Time: Short Circuit/Over Voltage/Over Load/Thermal

# Input Voltage: DC12-16V

# Current Consumption: 1.2A (Idle) /40A (Rated Power)

# Dimensions: 431(W ) x210(D) x 55(H)mm

# Weight: 5.0Kg

The thing that united scientists with rock n roll.

Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.

There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.

I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.

The easiest way to explain, Marshall JCM In a Box! We used best quality and matched FETs for -Tube to FET- conversion. The pedal also has switchable traditional bright cap on gain control. Finally, The English White is a push-pull clipping overdrive & cabinet simulator w/ advanced bias controls. Controls: Volume, Drive, Bias1, Bias2 Switches: Bright, Cabinet

www.customanalogpedals.com/the-english-white/

Rosenthal studio linie Tapio Wirkkala

Wildlife Notes

Weaver ants or green ants (genus Oecophylla) are eusocial insects of the family Formicidae (order Hymenoptera). Weaver ants are arboreal and are known for their unique nest building behaviour where workers construct nests by weaving together leaves using larval silk. Colonies can be extremely large consisting of more than a hundred nests spanning numerous trees and contain more than half a million workers. Like many other ant species, weaver ants prey on small insects and supplement their diet with carbohydrate-rich honeydew excreted by small insects (Hemiptera). Oecophylla workers exhibit a clear bimodal size distribution, with almost no overlap between the size of the minor and major workers. The major workers are approximately 8–10 mm (0.31–0.39 in) in length and the minors approximately half the length of the majors. There is a division of labour associated with the size difference between workers. Major workers forage, defend, maintain, and expand the colony whereas minor workers tend to stay within the nests where they care for the brood and 'milk' scale insects in or close to the nests.

Oecophylla weaver ants vary in color from reddish to yellowish brown dependent on the species. Oecophylla smaragdina found in Australia often have bright green gasters. These ants are highly territorial and workers aggressively defend their territories against intruders. Because of their aggressive behaviour, weaver ants are sometime used by indigenous farmers, particularly in Southeast Asia, as natural biocontrol agents against agricultural pests. Although Oecophylla weaver ants lack a functional sting they can inflict painful bites and often spray formic acid directly at the bite wound resulting in intense discomfort.

Weaver ant colonies are founded by one or more mated females (queens). A queen lays her first clutch of eggs on a leaf and protects and feeds the larvae until they develop into mature workers. The workers then construct leaf nests and help rear new brood laid by the queen. As the number of workers increases, more nests are constructed and colony productivity and growth increase significantly. Workers perform tasks that are essential to colony survival, including foraging, nest construction, and colony defence. The exchange of information and modulation of worker behaviour that occur during worker-worker interactions are facilitated by the use of chemical and tactile communication signals. These signals are used primarily in the contexts of foraging and colony defence. Successful foragers lay down pheromone trails that help recruit other workers to new food sources. Pheromone trails are also used by patrollers to recruit workers against territorial intruders. Along with chemical signals, workers also use tactile communication signals such as attenuation and body shaking to stimulate activity in signal recipients. Multimodal communication in Oecophylla weaver ants importantly contributes to colony self-organization. Like many other ant species, Oecophylla workers exhibit social carrying behavior as part of the recruitment process, in which one worker will carry another worker in its mandibles and transport it to a location requiring attention.

Text Source: Wikipedia

Composed by: Surendra Desai

Pic: Dr Umesh Tambe

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

amorphica.com/networked.html

www.facebook.com/amorphica

Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.

Instructors:

Monika Wittig [ LaN, IaaC ]

Shane Salisbury [ LaN, IaaC ]

Filippo Moroni [ SOLIDO, Politecnico di Milano ]

MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]

Aaron Gutiérrez Cortes [ Amorphica ]

Finally! After months of round the clock work my first Light Removing Strobe prototype is working.

The prototype model is running at -400 effective WattSeconds, removing about 3 stops of light from ambient in this example. You can see the darkness flashed onto the chair seat and the wall through the holes in the back of the chair.

The development model is very temperamental so apologies for the uninteresting picture. And I need to do more work on the photonic modulation condensor to improve the brightness of the "shadows" this unit casts.

As soon as the patent filings complete I will be moving to commercialize this breakthrough.

Thanks to my astrophysicist friend for the idea for this.

Take a look at my other recent flickr work to see how seriously you should take this invention!

Dragon Skull

This hard rock guitar track features several constrasting sections and fiery lead Stratocasters.

Live lead Stratocaster guitars - Lee Fitzsimmons * Live Stratocaster rhythm guitars - Lee Fitzsimmons * Live Ibanez 5-string bass guitar - Lee Fitzsimmons * Drums and percussion - Lee Fitzsimmons

The track begins with the full instrumentation of the arrangement presenting the background for the first section. This section consists of a basic riff in B that takes advantage of several open strings. The twin leads then begin their dual lines over this first riff as they scream their overdriven melodies in perfect harmony. The second section incorporates a pseudo-modulation to D major as the twin leads switch from a tight harmony of thirds to a wide octave of descending melodic lines. The third and final section features the twin leads cascading down on the G string as the E string is alternately struck. The drum beat in this final section switches from a typical rock pattern to a more tribal rhythm that employs the tom toms in a very dominant manner.

The entire form is repeated and then the bridge is presented. The bridge continues with the tribal tom tom pattern of the final section and then suddenly stops. When the groove starts a few beats later, a fiery guitar solo begins that features some of the faster licks available in Lee's lead guitar tool kit. The piece ends by repeating the first three sections of the track.

This first part of this tune uses the flavor of twin electric leads that use microtones on the blue notes in harmony in order to bring about the intense harmonic flavors that really tickle the inner skull. The raw drum rhythms also express the tribal intensity invoked by this work. This piece is about elevating the primitive elements of rock into more educated realms that use more complex systems of harmonies, yet still retain their tribal essence.

My website is at LeeFitzsimmons.com

youtu.be/dQlVATqicAU

From left to right the controls are:

F = filter frequency

T = tuning / fine, continuous pitch control

G = glissando, stores voltage from the last note and releases it over 3 switch-selectable times

O = octave, selects range six increments spanning 6 octaves

M = modulation, how much LFO is modulating pitch

R = resonance, links filter to LFO softening the sound slightly

S = speed, the speed of the LFO indicated by the adjacent LED

The design for the keys was inspired by the valves of a trumpet...

architecture.arqhys.com/architects/antoniobonet-biography...

ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.

Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.

The effects of modulation and under-highlighing are very subtle, but very much worth the effort

It adds an extra dimension of tonality that a miniature inevitably will lack due to its size. Carefully considered modulation can make a miniature feel more dynamic, and closer to how we would imagine 'the real thing' to be.

Equipped with sophisticated Enhanced Capture/Compare/PWM (ECCP) peripheral the Microchip PIC18F14K50 microcontroller could produce up to four PWM channel outputs. The enhanced PWM (Pulse Width Modulation) mode in ECCP peripheral is capable to drive the full bridge DC Motor circuit directly both in forward or reverse direction. It also could generate single PWM output on the selectable PIC18F14K50 pins when it configured in pulse steering mode. For more information you could visit www.ermicro.com/blog/?p=1461

Detail of an old and dusty transistor radio.

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

amorphica.com/networked.html

www.facebook.com/amorphica

Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.

Instructors:

Monika Wittig [ LaN, IaaC ]

Shane Salisbury [ LaN, IaaC ]

Filippo Moroni [ SOLIDO, Politecnico di Milano ]

MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]

Aaron Gutiérrez Cortes [ Amorphica ]

Alain Wergifosse

création/résidence art sonore | Geluidskunst/creatie

Alain Wergifosse, l'ancien Belge des scènes experimentales de Barcelone est revenu chercher sous nos brumes et grisailles l'inspiration pour ses nouveaux projets sonores et visuels. La bas il à travaillé avec son power-trio Obmuz, avec Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez et bien d'autres. il à aussi co-organisé les festivals NONOlogic avec Eli Gras et le LEM de GTS.

Il s'installe pendant 6 semaines a la Gare Bruxelles-Congrès qu'il inondera de sons bizarres, d'architectures impossibles, d'ondes radio en très basses fréquences, de microscopies, de modulations lumineuses, d'érosions, de perturbations électro-magnétiques, de quelques dichroïsmes et d'autres abérrations temporaires des champs sensoriels dans une exposition/installation sonore/résidence/atelier en work in progress qui évoluera semaine a semaine pour aboutir le 18 février en un concert bien bruiteux mettant tout l'espace en résonance où Alain Wergiosse fera chanter les trains et flipper les rats.

Alain Wergifosse, Belg die geruime tijd in de experimentele scene van Barcelona actief was, is naar zijn grijs en nevelig thuisland teruggekeerd om er inspiratie te vinden voor zijn nieuwe klank- en beeldprojecten. In Spanje werkte hij met zijn power-trio Obmuz, met Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez en anderen. Hij organiseerde ook mee het festival NONOlogic met Eli Gras en het LEM van GTS.

Gedurende 6 weken zal hij het station Brussel Congres innemen en bespelen. We krijgen onbestaande architectuur te zien, microscopische beelden, erosies, lichtmodulatie, electromagnetische golven worden hoorbaar gemaakt. Het geheel is één groot ‘work in progress’ (atelier/tentoonstelling/residentie) dat zijn publiek toonmoment zal kennen op 18 februari in een luidruchtig klankexperiment/concert dat de hele ruimte zal doen weerklinken als een instrument. Alain Wergifosse zal de treinen doen zingen en de ratten doen flippen.

18/02/2016

Photo // Yves André - TOUS DROITS RESERVES - ALL RIGHTS RESERVED

Tel : +32 476 421 267 // yvesandre@gmx.com

Manchester Cathedral.

St Mary Window, 1980.

By Antony Hollaway (1928-2000).

In 1963 the stained glass designer and craftsman Tony Hollaway was introduced to the Manchester architect, Harry Fairhurst. Eight years later, after they had worked together on commissions in Cheshire and Liverpool, Fairhurst sought Tony's advice about a plan for five large stained-glass windows in Manchester Cathedral.

Thus was Tony asked to design and make the first window, the St George in the inner south-west aisle. It was completed in 1973. Further windows followed in 1976 and 1980 and the final window, Revelation was installed in 1995.

Detail: The St Mary Window. Designed by Antony Hollaway, 1980. (This is in the Tower.)

The circle, which dominates the window, is the ancient Christian symbol of perfection. It is marred by the death of Jesus in the form of a shart of leight or the sword. This is a direct reference to the prohecy of Simeon to the Blessed Virgin at the time of the Presentation of Jesus in the Temple. (“A sword shall piee through your own Soul also”. Luke 2: 35).

This destoryed the perfection of the circle which is compensated for visually the the arcs of red and yellow. “And there appeared a great wonder in Heaven: a women clother with the sun, the moon under her feet …” (Revelation 12:1). These radii restore the symmetry required for formal and design purposes.

These are seven shades of blue within the circle, blue being a colour traditionally associated with St Mary the Virgin. The circle contains a serpent. This is a multiple image best understood under the following headings:

The circle placed upon these blocks of colour are letter forms both upper and lower case which are essentially to create a pattern. However, they may be re-assembled to read verses from the Magnificate: left to right. The act of re-assembling the letters is intended to concentrate the mine on the text which would not necessarily result from ‘easy reading’.

The above details are intended to present:

1. A suitable light modulation for this part of the building.

2. A relationship with the two adjoining windows.

3. A monumentality and dignity appropriate to the Architecture and to the special place of this window in the Scheme, and of the Virgin Mary among the Patron Saints of the Cathedral.

All the teaching elements of the window are subordinate to the formal design requirements expressed in (3).

via Tumblr lawrence9gold.tumblr.com/post/107993950082

A T T E N T I O N:

P S Y C H O A C T I V E

_____________________________The “Vajra” Self-Rectifying Process

A word in advance: This entry contains instructions for procedures that, due to their simplicity, are “advanced” practices. Known together as, The Vacuum Cleaner for Your Mind, they require sufficient control of your attention muscle to do them. Without that adequate control, some may find that their thinking-word mind is producing too much noise, noisier, even, than The Vacuum Cleaner for Your Mind — impossible for some, for now. The key, for such ones is practice of The Gold Key Release and the Middle-Way Memory Matrix Ritual.

In this entry I present two procedures, The Ka-Bong and Flashing the Unknown Unknown, that, when combined, provide a quick, even instant way to disarm and dissolve grips seemingly held upon us by unconscious habits of self-contraction and distress, so they can be sucked out of our mind. Right then.I present them, one at a time, for practice. Once you are practiced in them, you can follow one immediately with the other. In my experience, the immediate result is the recognition and release of self-contraction patterns felt, bodily, as a postural shift and relaxation into a new postural shape, accompanied by relief from the psychological tension you are addressing, and a new sense of presence. The Rationale for The “Ka-Bong”

The Ka-Bong is a “back-door” maneuver for dissolving hidden grips that keep us in the grip of our world-mind inheritance, confused, and stuck.

Those hidden grips show up as repetitious patterns of behavior that are recognizable and characteristic of the person, that have a feel to them that is part of the person’s sense of self, and part of the person’ way of harmonizing by which others recognize them. These grips are the chronic issues and ongoing complaints of a person’s existence, as well as the virtues to which they adhere. They are the programs of a person’s life.

Once recognized (generally, something we do or experience again, and again), the experience (as remembered) can be passed through The Ka-Bong, which dissolves the “part” or aspect of that behavior pattern that we still confuse with the basic reality of life. At that moment, the field of radiant awareness that underlies all can be intuited.

The reason The Ka-Bong works is that our habitual states are always forms of definition, or limited conditioning, whereas reality is inherently formless and, contrary to everything we are taught or have heard, is unknown by us (not a form of knowledge, at all, but ineffable experience). What we know is our conditioning, which we confuse with reality, “itself” (there is no “itself”, except in a manner of speaking). When we do the release step of The Ka-Bong, though we may think we are releasing the effort to intuit, identify or “locate” reality, what we are really doing is releasing an effort that keeps us stuck in our conditioning (which, as I said, we confuse with reality). Said another way, when we release the effort to intuit reality, the force of our conditioning releases along with it,

This way of saying it is a concession to our pre-conceived notions of reality as “the real conditions of our life.”

More strictly speaking, reality is always already the case and always already our present condition, so anything we may do to intuit reality is in addition to that — and can only obscure the intuition of reality as our already-condition. The release that occurs in The Ka-Bong simply clears the way for that intuition. The way to intuit reality is to let go of it and any efforts to intuit it. Then, something entirely unexpected flashes forward. Beyond these words, nothing useful may be said.

So, try The Ka-Bong a few times in a row. Notice the result. It gets interesting.The “Ka-bong!”The “Ka-bong!” is thus:Ka-

Fully feel your experience, whatever it is, whatever you have chosen —

whether some ideal or your sense of “Here-Now”.

Notice whatever you do to locate or identify it.

Stop doing that.Bong!

Do it repeatedly, releasing whatever comes up until the true, formless-ness of your ideal

becomes intuitively obvious.

It’s a form of “drilling down” until you reach the result.Now that’s know-how!Expounding on The “Ka-Bong”

The “Ka-Bong” is the simplest, most immediate maneuver,

for the effect it produces.

It consists of two phases:"Ka-": the set-up"Bong!": the follow-through.

The set-up sets the stage —

a direction of movement

locating or identifying a subject or object

that has a certain intensity —

an ideal outcome of some kind

or the intuition of “what about existence has been the same all your life”

or the sense of “Now-ness”

or the sense of “Here-ness”

— something generally binding upon us.

The follow-through action

is the recognition that whatever we are doing to locate that intuition or sense of reality

is unnecessary and does not represent or produce that which we seek,

and so we instantly desist from that effort of locating it.

The direction of movement is thus:

Identifying “Now-ness”

and then recognizing:

What I call, “Now-ness” is memory

and so I cease to regard it as “Now-ness”,

but regard it as memory.

Now-ness is unknown

and does not become known

until it is remembered.

“Now-ness” is not the so-called “present”.

“Now-ness” is unknown.

Our perception of everything delayed by the reaction time of our nervous system.

By the time we perceive it, it is past (short-term memory).

Everything emerges from “Now-ness”, into “Now-ness”, and exists in “Now-ness”

as the form of “Now-ness” —

but very “Now-ness” is unknown.

The direction of movement is thus:

Identify “Here-ness” for ourselves,

then recognize our two options:

We may mid-identify “Here-ness” as our surroundings.

or

we may identify “here-ness” as our own ever-presence.

In either case, we notice that we identify “Here-ness”

by means of some movement of attention or recollection

by which we refer to “hereness”.

It’s a gesture of intention.

AND THAT’S NOT IT, so LET IT GO, like throwing back a fish.

For “hereness” is the “self-hereness”,

the sense that always, wherever we are, no matter how we are moving,

before anything,

that sense of “here-ness” is unconditionally, always “here”

— omni-conditionally.The Rationale for “Flashing the Unknown Unknown”One of the fundamental predicaments of human beings is that we are involuntarily caught in experience — engaged in ways often not consciously of our own volition — ways that directly cause us pain and distress and lead to dysfunctional behavior and dysfunctional results, ways we have inherited from our parents, society, mass media, “educational” system, and the collective consciousness (“noosphere” or morphogenetic field). We are stuck in repetition of ourselves. Our attention is stuck in “the known” and our intention is stuck in our reactions to “the known”.So — how to get unstuck?The first step is to get a clear (or clearer) perception of the way in which we are stuck; we “surface” the sub-conscious material. Only with a sufficiently clear perception can we release (not repress or suppress) it.When surfacing sub-conscious material, it helps to contrast that material with something else.

There is one condition that stands in contrast to all other conditions: It is the condition of the Unknown Unknown (also known as “I-I”). It requires a release of attention from whatever attention is on to contemplate the Unknown Unknown.

But the Unknown Unknown cannot be known. Only its erroneous proxies (approximations) and our gestures or movements of attention toward it (internal representations) can be known — and they are not the Unknown Unknown — only representations of what we erroneously identify as the Unknown Unknown — the “Known Unknown”.

Actually, that’s not a problem, but actually the very stuff we need to successfully unstick ourselves. We can’t go wrong in this procedure, because any approximation of it gets released in the procedure, itself, leaving us freed to some degree. Repetitions free us more.

An observation by Buckminster Fuller makes it simple: There is only one way into (or toward) something, but infinite ways out of (or away from) it. Ponder that for a moment until it’s obvious. It is obvious, isn’t it?

Since what we’re doing in Flashing the Unknown Unknown is moving out of conditioning, even if we do it wrongly (doing the steps as given), we get the right result.Flashing the Unknown Unknown means intuitively to recall the sense of, Unknown Unknown. This is an act of intention and of faith, of sorts.In general, we first feel fully into the grip we are in — into the dense conditioning — and secondly, while feeling it, we intend to feel beyond it — the Unknown Unknown. It’s a movement outward. So, it’s first into the conditioning, then outward, beyond, toward the Unknown Unknown.

The fact is, we can’t do it. Anything we identify as the Unknown Unknown is, the Known Unknown.

In fact, the Unknown Unknown is always already present and as known as it’s ever going to get — which is to say, NOT! If you can know it, it ain’t the Unknown Unknown.

So, it’s a safe bet that whatever we are doing to intuit the Unknown Unknown is not it and obscures that intuition with effort; and a safe bet that any effort we are making to “Flash the Unknown Unknown”(after making the full-effort) is right-effort. We can’t go wrong. The effort to feel the Unknown Unknown takes us away from our habitual conditioning, both weakening our grip on it and providing a contrast to it, so we can apperceive it (perceive it within) in a new, more complete way that makes it more vulnerable to release. To touch base with (or to intend) the Unknown Unknown changes our experience of the known, reducing its solidity (memory-grip).The Unknown Unknown may be intuited as open-mind-space, an indefinable field of openness, which cannot be remembered, only intended (that’s not a typo or error; I mean intended). Even if we do that step poorly and feel only the effort to locate the Unknown Unknown still confused with the known, we get the intended result — as long as we put our best effort into it.Why do this? Because as we release the effort to intuit the Unknown Unknown, the effort of wrangling with experience also releases. A few repetitions may be necessary.Flashing the Unknown Unknown, alternating with the Ka-Bong, gets verrry interesting. One useful preparation for Flashing the Unknown Unknown is to refresh our sense of attending to something, intending, remembering, and imagining (the TetraSeed). For that preparation, we do The Spell-Maker/Breaker. (to be discussed)Helpful Preparation (click and do)"Flashing the Unknown-Unknown" is thus:

Fully feel your experience, whatever it is, whatever you have chosen.

Feel its location in you, size, shape and intensity.Intend your attention beyond or “larger than” it, toward the Unknown-Unknown.Clearly notice the effort it takes to do that.

Return to your limited experience.

Relax all efforts of attention.

Feel the release."Wash, rinse, repeat."Don’t bother trying to understand this. Just do it. You can’t do it wrongly.Relevant Perspective

What we look for, beyond seeing,

and call the unseen,

Listen for beyond hearing,

and call the unheard,

Grasp for beyond reaching,

and call the withheld,

merge beyond understanding

in a oneness

that does not merely rise and give light,

does not merely set and leave darkness,

but forever sends for a succession of living things

as mysterious as the unbegotten existence

to which they return.

That is why men have called them empty phenomena,

meaningless images in a mirage

with no face to meet, no back to follow.

Yet one who is anciently aware of existence

is master of every moment,

feels no break since time beyond time

in the way life flows.

~~ The Way of Life According to Lao Tzu, The Tao Teh Ching, verse 14

Witter Bynner translation

Integration

Having practiced both procedures, follow one immediately with the other.Reason: Subconscious vestiges of dissolved identity structures may remain even after thoroughgoing practice of some TetraSeed Modulations; procedures that set a new direction flush up what may remain, to which you may then apply one or more of the other TetraSeed Modulations

The “proof” of the “pudding” is in the “eating”.

other TetraSeed Modulations

The Gold Key Release

The Middle-Way Memory Matrix Ritual

The Wish-Fulfilling Gem

Esoteric Somatics and Tibetan BuddhismSEARCH KEYWORDS:(to return to this entry again, later.

caring | | 42

harmony | 85 | 94

memory | | 89

identification | 7 | 148

perpetuation | 78 | 162

copyright 2014 Lawrence Gold

This writing may be reproduced only in its entirety

with accurate attribution of authorship.

Do it for yourself - somatics.com/page7-htm

ifttt.com/images/no_image_card.png via Blogger lawrencegoldsomatics.blogspot.com/2015/01/tetraseed-modul...

Milton's Modal Compass is a complex map of the regularities within the field of musical modes.

A sketch of the diagram appeared on Milton Mermikides' blog Miltonline.com on the 5th of March 2015. Milton has generously approved of my attempts to visually compile his ideas.

For the sake of indexing there are different types of markers:

A: The outer ring, contraction-expansion.

B: The seven rings of modal interval sequences. Intervallic sequence inversions.

C: Modulations

D: Rotations (next/preceeding degree)

Blue colour indicates contraction.

Orange colour indicates expansion.

Minor and diminished intervals tend to dissolve inwardly, i.e. to smaller, more consonant intervals.

Major and augmented intervals tend to dissolve outwardly, i.e. to larger, more consonant intervals.

The blue-orange continuum reflects the level of contraction (minor) versus expansion (major) for each mode.

Locrian mode consist of a maximum of minor and diminished steps (m2, m3, P4, dim5, m6, m7).

Lydian mode consist of a maximum of Major and Augmented steps (M2, M3, A4, P5, M6, M7).

From Dorian mode which takes the balancing position with two minor, two major and two perfect functions the directions indicate:

Down left: Contraction

Down right: Expansion

Each modal scale is illustrated with its composition of major (orange) and minor (blue) steps in a circular form.

12 o'clock is the starting point - the prime/root - and the direction is clockwise.

Nomenclature: The names apply to the modern use of modes. The modes of the ancient Greek music were named differently.

Inversions:

The modes reflect each other in pairs: Across the vertical axis the interval sequences of the following pairs are each other's inversions:

Aeolian-Mixolydian

Phrygian-Ionian

Locrian-Lydian

The interval sequence of Dorian mode is symmetrical, so it is its own inversion.

Coach Poliquin demonstrating bodyfat measurements on Mary-Pier Gaudet

"Estrogen". Author: Amakasu Ririko

47 year old woman. Love that might last visited suddenly.

Hero three classmates University. And strive to part of the cafe to give up a fertility treatment become housewife "Yukino". The work in the securities company have entrusted the two children living with mother-in-law even become divorced "fountain". Foster two children as a full-time housewife and married entrepreneurs "Mako". The girls reunion in the summer of 47-year-old. I suffer on the relationship between the children and menopause. On the other hand, a new love. While fall in love that can not see ahead. I draw a figure to think about the rest of his life as a woman.

Whether the woman can remain until a number of woman, from how many of the middle-aged. Four years was called ripples between R40 readers suffering from modulation of body or mind "middle-aged eve" from (Shogakukan). It is the one work that Amakasu Mr. ask anew women R40,50 generation. It is a romance of adult words and beautiful impressive trappings.

The young fellow’s room, on the fifth floor, looked into a kind of abyss, the huge passage of the Western Railway just beyond the tunnel exit near the Batignolles station. Duroy opened his window and leaned against the rusty iron crossbar. Below him, at the bottom of the dark hole, three motionless red lights resembled the eyes of huge wild animals, and farther on a glimpse could be caught of others, and others again still farther. Every moment whistles, prolonged or brief pierced the silence of the night, some near at hand, others scarcely discernible, coming from a distance in the direction of Asnieres. Their modulations were akin to those of the human voice. One of them came nearer and nearer, with its plaintive appeal growing louder and louder every moment, and soon a big yellow light appeared advancing with a loud noise, and Duroy watched the string of railway carriages swallowed up by the tunnel.

1- For an subject to move it must determine which obstacles are

relevant to its path and determine which way to steer. Outlines and

silhouette study enables this sense of direction here in picture.

2 - A shadow can be a silhouette as well as a shadow at the same

time. This is the basic simplicity and advantage w.r.t some times

filling the picture with unwanted details of normal picture.

3 - Like a raga in music is based on certain moods/times of days,

similarly silhouettes basic function with human outlines is to show

emotions & intentional focus which are hidden in the pixels of a

detailed photograph. This is just my first attempt to study silhouette

w.r.t human outlines and the potential meaning it may convey.

4 - There may be non-photogenic conditions, limitations of lens, etc.

but I should never give up photographic intentions, click, click, click

and learn, learn, learn. This is also what I learned.

5 - Design: outlines, shadows & silhouettes study in form of advance

sketches help to design space for better light modulations and thus

they also lead to a very good design. Process study matters''''

music of a silhouette, music of life.. notes to self

Juvenal Sansó (b. 1929)

Golden Passage

signed (lower right)

ca. 1970

acrylic on paper

20 1/4" x 30 1/2" (51 cm x 77 cm)

From the Leila Benitez Collection

Opening bid: P 200,000

Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot.

Juvenal Sansó’s palette, as described by art critic Rod. Paras-Perez, is “as austere but rich in its modulation” where blue or orange are the predominant colors. Paras-Perez also noted his handling of lines, specifically of calligraphic gestures, writing that it “is of such density and intensity, so pervasively part of the visual structure that it could be generated only by sustained passion.” Moreover, John Ashberty writes in the New York Herald Tribune: “Sansó shows attractively wishful landscapes and sea-coast scenes.”

Metaphorically, Sansó is a visual poet with an intense passion for musing. As written in the French daily morning newspaper Le Figaro, “Sansó is a contemplative poet; his landscapes that seem fantastic are authentic, seen in the Far-East… his flowers, masses of rocks, the fishing traps… his tropical plants are all remembered so clearly that he can recreate them in his works… in this silent world no human figure seems to penetrate.” Usually depicted in his paintings are strips of rock formations juxtaposed with a backdrop of an orange or blue sky. In this piece, Sansó encapsulates the essence of what he absorbed and comprehended. The intricate details of the rock formations pressed against a seemingly nostalgic sky that complements the calm ocean give us a glimpse of how Sansó gives prominence to memory as a fundamental facet in his works, which in turn leaves an enthralling atmosphere.

Lot 65 of the Leon Gallery auction on September 11, 2021. Please see leonexchange.com and leon-gallery.com for more details.

Evil Twin : Circuit Bent Twin Neck Toy Guitar.

Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.

The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.

youtu.be/66EEzqLL6EM

Title: Concha Renaissance San Juan Resort

Other title: Concha

Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects

Creator role: Architect

Date: 1958 (original) 2008 (renovation)

Current location: San Juan, Puerto Rico

Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).

Description of view: Detail view of hotel and lounge area looking east.

Work type: Architecture and Landscape

Style of work: Modern: International Style

Culture: Puerto Rican

Materials/Techniques: Concrete

Plants

Trees

Source: Pisciotta, Henry (copyright Henry Pisciotta)

Date photographed: May 13, 2008

Resource type: Image

File format: JPEG

Image size: 2304H X 3072W pixels

Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm

Collection: Worldwide Building and Landscape Pictures

Filename: WB2010-0235 Concha.JPG

Record ID: WB2010-0235

Sub collection: resorts

waterfront

Copyright holder: Copyright Henry Pisciotta

© Angela M. Lobefaro

ALL RIGHTS RESERVED

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Peony Paeony

Peony or paeony is a name for plants in the genus Paeonia, the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America. Boundaries between species are not clear and estimates of the number of species range from 25 [1] to 40.[2]

Most are herbaceous perennial plants 1.5 - 5 feet (0.5 - 1.5 metres) tall, but some resemble trees up to 5 - 10 feet (1.5 – 3 metres) tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer.

The peony is named after Paeon (also spelled Paean), a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower.[3]

The family name "Paeoniaceae" was first used by Friedrich K.L. Rudolphi in 1830, following a suggestion by Friedrich Gottlieb Bartling that same year.[1] The family had been given other names a few years earlier.[4] The composition of the family has varied, but it has always consisted of Paeonia and one or more genera that are now placed in Ranunculales.[2] It has been widely believed that Paeonia is closest to Glaucidium, and this idea has been followed in some recent works.[1][5] Molecular phylogenetic studies, however, have demonstrated conclusively that Glaucidium belongs in Ranunculaceae,[6] but that Paeonia belongs in the unrelated order Saxifragales.[7]

[edit]Classification

A cultivated hybrid peony

Peonies can be classified by both plant growth habit and flower type. Plant growth types are Herbaceous (Bush), Tree, and Intersectional (Itoh).

Each flower type becomes more complex in its arrangement of petals. The flower types include Single (e.g., Athena, Dad, Krinkled White, Scarlet O’Hara, Sea Shell), Japanese (Nippon Beauty, Madame Butterfly), Anemone, Semi-Double (Paula Fay, Coral Charm, Miss America, Buckeye Belle), Double (Ann Cousins, Gardenia, Kansas, Paul M. Wild, Tourangelle) and Bomb-Double (Red Charm, Raspberry Sundae, Mons Jules Elie). Herbaceous peonies die back in winter and regrow in spring, while tree peonies lose their leaves in winter, but leave woody stems.

Intersectional (Itoh) peonies are hybrid crosses between tree and herbaceous types. They have the large flowers of a tree peony, but die back to the ground each year like herbaceous peonies. [8]

[edit]Chemistry and biological activities

Over 262 compounds have been obtained so far from the plants of Paeoniaceae. These include monoterpenoid glucosides, flavonoids, tannins, stilbenoids, triterpenoids and steroids, paeonols, and phenols.

Biological activities include antioxidant, antitumor, antipathogenic, immune-system-modulation activities, cardiovascular-system-protective activities and central-nervous-system activities.[9]

The herb known as Paeonia (Bai Shao, Radix Paeoniae Lactiflorae), in particular the root of Paeonia lactiflora has been used frequently in traditional medicines of Korea, China and Japan. Research suggests that constituents in Paeonia lactiflora - paeoniflorin and paeonol - can modulate IgE-induced scratching behaviors and mast cell degranulation. [10]

[edit]Propagation

Paeonia caucasica

Tree peony

Herbaceous and Itoh peonies are propagated by root division, and sometimes by seed. Tree peonies can be propagated by grafting, division, seed, and from cuttings, although root grafting is most common commercially. [11]

Courtesy of Wikipedia

en.wikipedia.org/wiki/Peony

A Voltage-Controlled Amplifier (VCA) made from three BC549 NPN transistors and three BC214 PNP transistors. It's a Gm Cell with variable current followed by a simple op-amp.

The four traces shown on the Tek 5440 are the input (1kHz), the two intermediate signals and the output. The control or modulation voltage was a triangle wave in this case.