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Edison was a pioneer of sound recording and reproduction. He founded the Edison Phonograph Company in 1888 and began the production of the first phonograph cylinders.
The first mass-produced cylinders were made of brown wax. They wore out very quickly—often after being played only a few dozen times. Over time, the materials were improved: brown wax was replaced by hard black wax, which could withstand several hundred plays, and this was later replaced by Blue Amberol material.
- Edison Blank Record (1888 - 1906) - an unrecorded brown wax cylinder. Sound could be recorded directly using a phonograph, and after re-shaving the surface of the cylinder with an Edison Shaving Machine, it could be reused for recording multiple times.
- Edison Gold-Moulded Record (1902 - 1912) - a cylinder made of hard black wax, produced using a gold-coated master cylinder, with a playing time of about 2 minutes.
- Edison Amberol Record (1908 - 1912) - an improved technology with more grooves per inch and a playing time of approximately 4 minutes.
- Edison Blue Amberol Record (1912 - 1929) - offering the same playing time, but made of reinforced celluloid, which was significantly more durable.
- Edison Diamond Disc Record (1912 - 1929) - a 10-inch disc with approximately 5 minutes of playing time per side. Instead of the side-to-side movement used by modern records, these discs employed vertical (up-and-down) groove modulation and rotated at a speed of 80 RPM.
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.
Church by Antoni Bonet i Castellana
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.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
Untitled
2009
Mica acrylic
Rosana Castrillo DÃaz, Spanish, born 1971
Commissioned through a gift of Robert and Claudia Allen and the Mary Heath Keesling Fund, 2009.85
"I was very interested in exploring how the light would act with the mica. I knew there was going to be a lot of light, even though the space was not created yet. When I think about light, I always think about marble sculptures. The modulation of light in the Renaissance sculptures by Michelangelo and Bernini fascinates me. I was looking at the drapery in these works, and made some drawings. That was a reference for the conception of this work." -- Rosana Castrillo DÃaz, interview with the SFMOMA Education Department, 2010
The San Francisco Museum of Modern Art (SFMoMA) was opened in 1935 under director Grace L. McCann Morley as the San Francisco Museum of Art, the first museum on the West Coast devoted solely to 20th-century art. For its first sixty years, the museum occupied upper floors of the War Memorial Veterans Building in the Civic Center. Under director Henry T. Hopkins, the museum added "Modern" to its title in 1975, and established an international reputation. In 1995 the museum moved to its current location, a large cubistic building designed by Mario Botta Architetto of Hellmuth, Obata & Kassabaum at 151 Third Street.
CCSC Riviera de Ensenada -
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
No longer in service but still a fine piece of work. The power transformer, modulation transformer and air handler are in the basement below. The basement has a much higher ceiling. After the new solid state transmitter was installed they had to add a furnace so the pipes wouldn't freeze! The tubes used to keep it heated very nicely!
A smooth jazz vocal ballad accompanied by piano and rhythm section.
Vocal - Lee Fitzsimmons * Piano - Lee Fitzsimmons * Acoustic bass - Lee Fitzsimmons * Drum kit and ride cymbals - Lee Fitzsimmons
LYRICS
"The silence of the reason in all its simple fashion is the freedom of expression in all its simple notions
as its making to the wishing it falls into fruition as its calling back to what you feel for.
Hear the vision of the season in all its playful teasing as it lingers in the motion swirling around the ocean
as it frees itself forever and grabs a new perceiver as it comes back baby what you say for now.
We gonna take it uptown, and then we'll move at all around and put it back to where, yeah...
You know it's gonna be a smooth time, you know it's just a good time.
Yeah, we're gonna have a good time baby. It's gonna have a good time now. Gonna have a smooth time sugar. You know its just a good time now..."
"The where with all the fooling is the folly of the peaceful, that's keeping out the ruling and staking out the motion
of the coming through the trapping of the hearts that keep on clapping and see whatever therefore.
In the vastness of the little the hardness is so brittle, as everyone can take of it and see a little movement
as it's coming through the portal see the killer of mortal thoughts that seem to linger but are gone.
You see we've known it along, it's only just a song that puts it back to where, yeah...
You know we're gonna have a good time, it's gonna be a good time.
Yeah, we're gonna have a smooth time baby. Gonna have a good time now. Gonna have a smooth time sugar, Gonna have a good time now..."
"The silence of the reason in all its simple fashion is the freedom of expression in all its simple notion
as its making to the wishing it falls into fruition as its calling back to what you feel for.
Hear the vision of the season in all its playful teasing as it lingers in the motion swirling around the ocean
as it frees itself forever and grabs a new perceiver and it comes back baby what you say for now.
We gonna take it uptown, and then we'll move at all around and put it back to where, yeah
You know it's gonna be a smooth time, you know it's just a good time.
Yeah, we're gonna have a smooth time baby. We're gonna have a good time now. It's gonna be a smooth time sugar. Its gonna be a good time now..."
In the four bar intro, the piano plays two rolling arpeggios that establish the mood and tonal center of the work. The rich baritone vocal then enters and delivers its introspectively philosophical message. Eight bars later, the groove jumps to double time, and the ride cymbal begins playing near the bell. After this section, the groove goes back to regular time and stays there for twelve bars as a clever sequence of modulatory chords is presented at the end of this section as a new tonal center a half-step higher is established. The chorus then follows in double time and then sets up a modulation to return to the original tonal center. The entire form then repeats twice and ends.
This piece is about smoothness. It directly associates the concept of "smooth" with the idea of "good." Some of the more colorful lyrical passages are deliberately obscure so that they may be perceived by different individuals in different ways. This artistic work is also an example of how a song should not be taken too seriously because (as the lyrics clearly specify) it's only just a song.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
... simplified block diagram ... A.M. transmitter ...
... the 'Q Type’ transmitter was an evolution of that designed by Marconi's Wireless Telegraph Company Limited for the experimental station MZX and broadcasting station 2MT. These designs were, in turn, based on earlier telephony transmitters that used amplitude modulation (A.M.) dating back to the first world war.
The 'Q Type’ was designed by Captain Henry Joseph Round MC, assisted by C. S. Franklin, and incorporated enhancements over the earlier design used for 2MT. These included a higher rated output power of approximately 1 kW and the elimination of some single points of failure to increase the system's availability. The first 'Q' type transmitter was used in November 1922 as an upgrade for station 2LO, located in London. The subsequent British Broadcasting Company stations, including 6BM at Bournemouth, also used the 'Q' type transmitter.
The designers could have chosen to modulate the grid of the Modulated Amplifier triode but the valve had a non-linear gain characteristic. This method would therefore have introduced too much distortion. They instead selected direct 'plate' or anode modulation to optimise the quality of the modulated signal, even though this needed four MT7B high power triodes to generate the necessary audio frequency power.
A large iron-cored ‘speech choke’ ensured that the amplified audio frequency signal was impressed on the Modulated Amplifier’s EHT plate supply and reflected away from the EHT supply smoothing filter. This enabled the radio frequency signal to become amplitude modulated, with a modulation factor of nearly 100%.
The high power triode valves were developed by Marconi's and manufactured at the Osram Lamp Works (Marconi-Osram Valves or MOV). These large air-cooled valves were fairly primitive triodes:
MT4 - medium power triode, 80 watts anode dissipation. Maximum cathode current: 0.3 amps. Filament: 12.5 volts, 6.3 amps. Used for the Sub-Modulator at audio frequency.
MT7B - high power triode, 500 watts maximum anode dissipation. Four MT7B's were used in parallel for the Modulator at audio frequency.
MT2 - medium power triode, 300 watts continuous anode dissipation. Maximum cathode current: 1.0 amps. Filament: 17 volts, 15 amps. The MT2's were used for the Master Oscillator and the Modulated Amplifier at radio frequency.
Unlike most of the other BBC stations commissioned in 1923, Bournemouth had a purpose-built transmitter hut with a battery room, motor room, transmitter room and office.
Reference: 'The Saga of Marconi-Osram Valves' by Barry Vyse and George Jessop.
Reference: Description of 2LO Transmitter, by Rod Viveash, Appendix A to ‘From Hidden Technology to Exhibition Showpiece: The Journey of 2LO, the BBC’s First Radio Transmitter, 1922-2012’ by Dr. Alison Hess, Royal Holloway, University of London.
Engineers assigned to 6BM included:
L. A. V. Everitt
A. Walker
R. Haworth
R. G. ‘Tiny’ Durham
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
Converge high-speed, high-bandwidth data and video distribution at the edge of your cable access network with the Cisco RF Gateway Series. These standards-based universal edge quadrature amplitude modulation (U-EQAM) products support switched digital video (SDV), video on demand (VoD), and DOCSIS 3.0/ Modular-CMTS (M-CMTS), making the Cisco RF Gateway Series a powerful platform for end-to-end triple-play services.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
§ Intuitive apprehension in sizes and distances of the contiguous surroundings associates adherently to the anthropometric measurement rather than its absolute dimension • The element of scale anticipation becomes proportionately significant when perception is engaged as a part of definite spatial series •
§ The immense scale of the corner chamer sikharas and the libraries (pavilions? one far left in the photo which situated on the platform between the third and second gallery) creates total impression and concession in our apprehension when we approach nearer step be step around the terrace • We are liable to be subjugated to the will of its authority and entitled to claim respect to its scale of knowledge • This is the transition of scale between human and God—analogically, the anthropomorphic constraint and the knowledgeable constraint, the practical creation and the technical creation—which particularly concerned the architect as a matter of aesthetic intentionality • Appropriate modulation of scale, or size graduation, can produce a certain contribution to the reconciliation of human by reassuring the building towards alleviation of distress which seems, in some indefinable way, to elaborate the beholders to become respect to its stature simultaneously •
§ Modulation of scale that persisted in all Khmer temples since Bakong is not purposed to serve the utilitarianistic functionality • It is a synthesisation of Hindu philosophy to use architecture as a successful medium to subdue the attachment of the beholders' self (ahamkara—the egoistic bondage) and unify thier subtances with God—geometrically and cosmologically—as which the Khmer architects realised in its power very intimately •
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano JoaquÃn Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect JoaquÃn Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
Orange Juice Drive is in a classical RAT type circuit and sounding topolgy. We add extra switch for select between symmetric or asymmetric clipping. Not operable with battery.
My dad had a small portable Oscilloscope and a spectrum analyzer set up. That's what I was watching. I can’t tell from the picture angle but it could have been one or both.
It was a very early home studio which was all on MIDI. The computer was an ATARI 130XE, before we switched to Intel PCs.
The main synthesizer was a Casio Phase Modulation series with some of the sounds programmed by Isao Tomita. Big recording studios that my dad used to record bands in were still very expensive, so he was trying to see if one could make an affordable home production studio using all MIDI. It came close, but it took about ten years for home computers to start getting powerful enough to do the job properly.
At Technicolor, my dad still uses specialized computer systems and cloud style high-speed storage to do true professional on-air video.
Emmett Louis Hardy (June 12, 1903 – June 16, 1925)[1] was an American jazz cornet player during the early 1900s.
Career
Hardy was born in the New Orleans suburb of Gretna, Louisiana, United States, and lived much of his life in the Algiers neighborhood, on the west bank of New Orleans. Hardy was a child prodigy, described as already playing marvelously in his early teens.[1] Some New Orleans musicians remembered as a musical highlight of their lives, a 1919 cutting contest where, after long and intense struggle, Hardy succeeded in outplaying Louis Armstrong. (It is likely that Armstrong, although two years older than Hardy, had not yet hit his full stride at that time.)
In Hardy's early teens, he was a member of Papa Jack Laine's band,[1] then worked in the Carlisle Evans Band and Norman Brownlee's Orchestra of New Orleans.[2] He belonged to a small band that supported singer Bee Palmer.[2] After moving to Chicago, he became a member of the New Orleans Rhythm Kings.[1] For a time during its Friar's Inn residency/ the NORK used a two-cornet format – Paul Mares, leader and first cornet, and Emmett Hardy as second. As with other New Orleans jazz bands of that time (such as King Oliver's Creole Jazz Band and The Original Tuxedo Orchestra), the more creative player played the second part, with the first cornet staying closer to the lead line. Hardy did not appear on any of the Rhythm Kings recording sessions, never making any commercial recordings before his early death.[1]
After returning to New Orleans in the early 1920s, he led his own band and played in the band of Norman Brownlee.
Hardy's playing is described as being more lyrical than many of his New Orleans contemporaries, but with a driving rhythm. His tone was much admired. "Emmet...always preferred playing in some screwy, plenty tough keys like B-natural, F-sharp, C-sharp, D-flat, and E-natural, using all those keys on one tune and making his own modulations into and out of choruses. His tone was pure and wonderful and it sorta rolled forth, except with a drive like I've never heard anyone else get."—Monk Hazel, Down Beat magazine, May 15, 1940[3] Hardy was an important influence on Bix Beiderbecke,[1] [3] and Monk Hazel pointed out that Beiderbecke on the Wolverines records sounded very much like Hardy.[4][5]
"It’s no wonder that later, after the Wolverine era when Bix was forging ahead with Goldkette and Whiteman, Beiderbecke modestly paid tribute to Hardy as his greatest inspiration, and that he even wrote Emmet’s mother late in 1925 saying 'Emmet was the greatest musician I have ever heard. If ever I can come near your son’s greatness I'll die happy.'"—Dave Dexter Jr., Down Beat, June 1, 1940[4]
Hardy also did metal work, made his own mouthpieces for his horn, and modified his cornet to add an additional spit-valve. A relative remembered Hardy as being somewhat shy and unassuming, with a good dry sense of humor; that he was easily frightened by sudden loud noises, and superstitious about passing by graveyards.
When advancing tuberculosis started to make his breathing difficult, Hardy taught himself banjo so he could continue playing music.
Hardy and some of his musician friends made some home recordings on wax phonograph cylinders for their own amusement. As Hardy's tuberculosis worsened and his death seemed inevitable, the friends decided to preserve the cylinders as a memento of Hardy's playing. At least one cylinder survived to the start of the 1950s; the relative who heard it then said Hardy's playing reminded him of Sharkey Bonano. When Tulane University's Jazz Archive was established in the late 1950s, however, a diligent search failed to turn up any of these recordings, which are presumed lost forever.
Hardy died of tuberculosis in New Orleans, just four days after his 22nd birthday,[1] and was buried in Gretna, Louisiana.[2]
References
Colin Larkin, ed. (1992). The Guinness Who's Who of Jazz (First ed.). Guinness Publishing. p. 189. ISBN 0-85112-580-8.
Chadbourne, Eugene. "Emmett Hardy". AllMusic. Retrieved December 31, 2018.
Dexter, Dave (May 15, 1940). "Story of Emmet Hardy Told by New Orleans Musicians". Down Beat.
Dexter, Dave (June 1, 1940). "Hardy Welcomed Death By Playing the Blues!". Down Beat.
Raeburn, Bruce Boyd (July 2012). "Bix Beiderbecke and New Orleans". crj-online.org.
en.wikipedia.org/wiki/Emmett_Hardy accessed 8/12/2022 rvs
There really is no such thing as a single LED that glows purple. To make purple LED lights, they make each bulb with one red LED and one blue LED inside it.
But if both LEDs were fully on all the time, the color would be too "blue", and not "purple" enough. (Blue LEDs are brighter than red ones, and they'd outshine the red ones and make the mix look too indigoish.)
And LEDs cannot really be "dimmed"; either they're on full blast or they're off.
So to mix just the right color purple, each tiny bulb keeps its red LED on all the time (100%), but then it pulses the blue LED on and off and on and off, so that overall it's only lit a fraction of the time, and thus appears dimmer. After all, if its only on half of the time, it's only putting out half of the light in a given period of time.
If the flashing of the blue is fast enough -- faster than the steady eye can see -- you don't even notice.
BUT! If you move your eyes or your head (or your camera) quickly past the bulbs, the secret of the on-off-on-off blue LEDs is revealed!
You could even just take a ruler and measure the length of the bright blue "on" streaks compared to the red parts on this picture, and figure out the exact proportion of red and blue that the manufacturer mixed to make this color of purple.
Science. It works, _.
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.
Young Professionals recognition, Prix Ars Electronica 2021
The Talking Tesla Coil can play back any audio sequence without pre-processing. For example, it can play human speech or music directly from a smartphone in real time. During playback, the power of the Tesla coil becomes sensually perceptible: visually, it offers an impressive spectacle of colored flashes, and the ozone produced in small quantities can be smelled.
The Tesla coil is a resonant transformer that transforms low voltages in the primary branch up to several thousand volts. This ionizes the surrounding air, causing lightning discharges and expansion of the air. The continuous modulation of the lightning produces sound waves that can be perceived by human hearing.
The artist is keen to get more young people interested in electronics and STEM subjects through his project. He would like to present the Talking Tesla Coil in schools, among other places, to vividly demonstrate what can be done with modern power electronics
Photo: Tom mesic
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 the microcontroller-based Pulse Position Modulation output to Pulse Width Modulation converter.
Full details at www.5volt.eu
Radio station promo record for the 1955 MGM movie, "Jupiter's Darling" in transparent red vinyl. The periodic modulation patterns are clearly visible. I need haul out the turntable and see if the disk even fits without hitting the tonearm plinth. The patterns are so regular I can't help but imagine the sounds are nearly pure tones.
BW Neurochemistry Neuroscience Senior Benjamin Brown '15, has been working with Case Western Reserve University School of Medicine professor Bradley T. Lang on modulation of the proteoglycan receptor PTPσ promotes recovery after spinal cord injury. Their work was published this week 12/3/14 in the international weekly journal of science, Nature. He is seen here in the Neurochemistry lab in Wilker Hall room 234 where he worked on parts of the research for the scientific discovery.
FRK.MOD was a public installation that explored the sounds of localized radio transmission. Six radio transmitters were mounted on telephone poles in Millvale, PA, a borough of Pittsburgh. Each transmitter was paired with an MP3 players which contained an originally composed piece of audio and transmitted this audio on the same frequency. The listener was meant to wear a pair of radio receiver headphones, receiving on the same frequency as the transmitters, and walk down the street. As the listener moves between the transmitters, the signals will compete to be received. The result of this interference is a compelling and disorienting sonic experience.
The composed audio was inspired by the science of radio and the propagation of waves in the natural world. Frequency modulation synthesis as well as a technique to step through one waveform using the amplitude of another were used to represent the relationship between the carrier frequency and the modulator frequency, the basis of radio. The audio also used radio samples captured by placing contact microphones on the beams of a bridge. These sounds mimic qualities of the interference between the transmitters, creating elements of continuity for the listener.
SKU: UW150-04
Product Name: 150Mbps Wireless WLAN USB Dongle with Realtek RTL8188CUS Chipset
Overview
Its a mini size USB wireless adapter ,it adopt the REALTEK RTL8188CUS and the transfer rate could be up to 150Mbps, This product can be used to computer, PSP, media player and other device which need the wireless application.
This high gain design will raise the performance in longer range and worse environment, it supports the soft AP and soft WPS ,the AUTO-RUN CD makes it easier to install its utility and driver.
Feaures
Standards: IEEE 802.11n, IEEE 802.11g, IEEE 802.11b
Chipset: Realtek RTL8188CUS
Interface: USB2.0 Hi-Speed connector
LED indicator: Link/Activity
Working channel: 1~13
FrequencyRange: 2.4-2.4835GHz
RF power: 20dBm(Maximum)
RF gain: 2dBi internal smart antenna
Network protocol: CSMA / CA with ACK
Work Mode: Ad-Hoc, Infrastructure ,soft AP
Wireless Security: 64/128 bit WEP, WPA/WPA2, WPA-PSK/WPA2-PSK (TKIP/AES)
Software features support for WPS,Quick Setup wireless encryption
Dimension: 1.8 x 1.4 x 0.6 cm (approx.)
Range
Indoors: 50-100m (Theoretical Value)
Outdoors: 100-200m ( Theoretical Value)
Wireless Signal Rates:
11n: Up to 150Mbps (Dynamic)
11g: Up to 54Mbps (Dynamic)
11b: Up to 11Mbps (Dynamic)
Data Modulation
11b: CCK,DQPSK,DBPSK
11g: OFDM
11n: OFDM with PSK,BPSK,16-QAM,64-QAM
Receiver Sensitivity
135M: -68dBm@10% PER
54M: -68dBm@10% PER
11M: -85dBm@8% PER
Operating Temperature 0°C~40°C (32°F~104°F)
Storage Temperature -40°C~70°C (-40°F~158°F)
Relative Humidity 10% ~ 90%, non condensation
Storage Humidity 5%~95% non-condensing
Support Operating System
Windows 2000/XP/VISTA/Win7/8 / Linux/Mac
Package Contents:
1 x USB WLAN Dongle
1 x Driver CD
Live Impex Technology
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This jazz waltz features vocal, saxophone, and flute performances accompanied by a jazz trio.
Vocal - Lee Fitzsimmons * Live Yamaha tenor saxophone (YTS - 21) - Lee Fitzsimmons * Live Gemeinhardt flute - Lee Fitzsimmons
Piano - Lee Fitzsimmons * Acoustic bass - Lee Fitzsimmons * Drum kit and ride cymbals - Lee Fitzsimmons
LYRICS
"Think I'm gonna go sail away, forever and a day. Through the clouds and over the trees, think I'm gonna go sail away.
Gonna get me a big balloon, so I can fly away to the moon. Through the stars on Mercury's tune, gonna get me a big balloon...
Breathe deep the golden air, swirling through our minds. We'll find a solace there, an essence so sublime."
"Maybe we could fly away to Mars, the whole universe is ours. See the light wherever we are, maybe we could fly away to Mars.
Jupiter and Venus, too. That's what I'm really gonna do. Saturn in it's hazy dew, Jupiter and Venus, too...
Breathe deep the golden air, swirling through our minds. We'll find a solace there, an essence so sublime."
The jazz trio sets up a spirited groove; the vocal begins. A soulful tenor saxophone fills the gaps of the vocal melody during the verses. In the chorus, a playful flute plays during the vocal breaks as a clever modulation occurs. After the chorus, the saxophone takes a lively be-bop style ride and is then joined by the flute, so the pair can present a two part harmony that sets the stage for the second verse. The entire form repeats and the song ends on the final note of a brief coda.
The philosophical essence of this tune is the concept of "floatation" as an allegory for the ascent of the kundalini energies up the spinal cord. The planetary chakras of alchemical lore are mentioned in the lyrics as guiding beacons of light that guarantee that the balloon's pilot is never lost. The golden air of the chorus is symbolic of the heliosphere that permeates all of the solar system that lets all of the inhabitants of its golden realms know that they are never alone.
This "essence so sublime" is the true solace of Sol.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
Type I - Sensory Modulation Disorder (SMD). Over, or under responding to sensory stimuli or seeking sensory stimulation. This group may include a fearful and/or anxious pattern, negative and/or stubborn behaviors, self-absorbed behaviors...
my friends kyle and tali performed at warmup today, which is a big-ass party outdoors at the queens outpost of the MOMA. it's a veritable nyc summer must-do. thousands of people dancing to electronica, drinking beer, and roaming around the museum. all i can say is it's a lot more fun when you can sit in the VIP area and drink free beer. it's good to have cool friends.
kyle and tali are world-class artists who work with sound and visuals. they build machines and circuits out of random junk. their pieces are interactive, in that they are 'played' in some way. something about oscillations and modulations. don't ask me. in this piece, 'help us carry a tune', they wrapped 5 giant spools of different colored wire around dozens of people in the courtyard, then plugged the wires in to the apparatus, thereby modulating the signal. it was cool.
also, i took one good picture.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya GarcÃa
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya GarcÃa
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
The mess of today's experiment of generating DC signals in Reason and routing them to moogerfoogers -> Like a ReVolta!
As if I needed another large, unwieldy vintage organ...I found this awesome Hammond B-3 clone for $100 in a local store. It's an Italian-made Crumar T2. I've seen them go for $300-$500 with a dead key..there's no foot pedal for swells, and I don't think the fold down legs were still on the case body (it's one that stays "in" the case when you take the lid off....but I have total Stereolab delusions I'm seriously considering indulging.
This set has separate receiver and power supply/deflection chassis. Apart from the cabinet, it is apparently the same as the TV53 and TV63.
Static
a. inactive, not in physical motion
b. of or relating to bodies at rest or forces in equilibrium
c. a crackling or hissing noise caused by electrical interference
Pulse
a. rhythmical beating, vibrating, or sounding
b. a transient variation of a quantity whose value is normally constant
c. an electromagnetic wave or modulation thereof of brief duration
Shot in Tokyo with Canon 350D and 5D DSLRs, processed with Lightroom (raw files color adjustment and resizing)/VirtualDub (deshaker/deflicker filters)/Sony Vegas (editing). Original rendered in full 1080 HD@30p.
Music : Edge to Life by Recoil on "Bloodline". Available from all major music outlets.
All rights reserved to their respective owners.
Please go on the Getty Images website if you wish to license the time lapse sequences: www.gettyimages.com/Search/Search.aspx?contractUrl=2&...
Watch this video on Vimeo. Video created by Samuel Cockedey.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya GarcÃa
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
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 ]
ArtScience celebrates 25th anniversary
Paradiso, Amsterdam 2015
Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.
Loudthings has been nominated for a Tiger Awards for Short Film at IFFR 2008 and won the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival 2009 and the Grand Prix 2008 at 25 FPS festival in Zagreb Croatia.
Loudthings premiered at the IFFR film festival Rotterdam in 2008, and has been shown since at festivals such as Ann Arbor film festival, EX-IS Seoul, EMAF Osnabruck, IKFF Hamburg, VideEx Zurch, 25FPS Zagreb, NFF Utrecht, ISFF Lille, Spectropia Riga.
Loudthings was made possible by the generous support from: Netherlands Foundation for Visual Arts, Design and Architecture, The Netherlands Film Fund, The Rotterdam Film Fund, ThuisKopie Fonds.
Telcosystems
Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague. David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire.
In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
The NetClock/2 receives and demodulates the WWVB 60 KHz time signal. Once the signal is decoded, the NetClock/2 provides accurate and traceable time data. Or did...
Above is an historical picture, clock locked to WWVB on April 1, 2012.
WARNING: Spectracom receivers extract the carrier from WWVB using a PLL to discipline a local oscillator. The new phase modulation scheme, to be activated by NIST in July, 2012, does not allow carrier extraction... and impacts Spectracom's WWVB products ability to decode time-of-day reliably.
Translation: Netclock/2 will fail. It will unlock from "time sync" and begin freewheeling when the change is initiated. It will become a boat anchor.
The good news: cheap consumer clocks will work better.