View allAll Photos Tagged modulation
The layering corresponds to Milankovitch cycle
Unit: Morbiokalk (limestone), Lias
Graham P. Weedon:
"The 21 000 year (21 ka) precession cycle was detected in all three cases, the 100 ka eccentricity cycle in two cases and the 41 ka obliquity cycle in one. Filtering revealed that the supposed 21 ka sedimentary cycles are grouped into packets of four or five small and large amplitude cycles. The packets reflect the 100 ka modulation of the 21 ka precession cycle. Local disruption of the packaging can be used to locate hiatuses in pelagic strata."
source: jgs.lyellcollection.org/cgi/content/abstract/ 146/1/133
Josef Anton Bruckner (4 September 1824 – 11 October 1896) was an Austrian composer best known for his symphonies, masses, and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.
Unlike other musical radicals such as Richard Wagner and Hugo Wolf who fit the enfant terrible mould, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton".
His works, the symphonies in particular, had detractors, most notably the influential Austrian critic Eduard Hanslick, and other supporters of Johannes Brahms who pointed to their large size and use of repetition, as well as to Bruckner's propensity for revising many of his works, often with the assistance of colleagues, and his apparent indecision about which versions he preferred. On the other hand, Bruckner was greatly admired by subsequent composers including his friend Gustav Mahler.
Source: Wikipedia
I believe this is known as the 'Tigner bust'. I like the way it seems to blend in with the vegetation, similarly coloured.
CNC milled tree trunk from Linden wood based on a form modeled in 3D. Milled at the HfG Offenbach with the kind assistance of Mr. Wolfgang Heide. Digital image taken at the exhibition "Natur-Struktur" in March-April 2008 in Frankfurt am Main, Germany.
Captured 5 Jun 2021, xx:09 hrs ET, Springfield, VA, USA. Bortle 8 skies, Mallincam DS10C camera, Celestron 8 inch SCT f/6.2, exposure 4 sec, gain 20, bin 2, stack of 150 light frames, dark and flat frames subtracted, no filter.
Clouds: clear
Seeing: ok
Transparency: ok
Moon phase: 40%
FOV: 47 x 36 arcmin before crop
Resolution: 1.6 arcsec/pixel
Orientation: Up is South
Apparent magnitude: +6.2
Apparent size: 18 arcmin
Appearance: bright dense globular cluster.
From Wikipedia:
Messier 3 (M3 or NGC 5272) is a globular cluster of stars in the northern constellation of Canes Venatici. It was discovered on May 3, 1764, and was the first Messier object to be discovered by Charles Messier himself. Messier originally mistook the object for a nebula without stars. This mistake was corrected after the stars were resolved by William Herschel around 1784. Since then, it has become one of the best-studied globular clusters. Identification of the cluster's unusually large variable star population was begun in 1913 by American astronomer Solon Irving Bailey and new variable members continue to be identified up through 2004.
Many amateur astronomers consider it one of the finest northern globular clusters, following only Messier 13. M3 has an apparent magnitude of 6.2, making it a difficult naked eye target even with dark conditions. With a moderate-sized telescope, the cluster is fully defined. It can be found by looking almost exactly halfway along the north-west line that would join Arcturus (α Boötis) to Cor Caroli (α Canum Venaticorum). Using a telescope with a 25 cm (9.8 in) aperture, the cluster has a bright core with a diameter of about 6 arcminutes and spans a total of double that.
This cluster is one of the largest and brightest, and is made up of around 500,000 stars. It is estimated to be 11.4 billion years old. It is centered at 32,615.64 light-years (10 kpc) away from Earth.
Messier 3 is quite isolated as it is 31.6 kly (9.7 kpc) above the Galactic plane and roughly 38.8 kly (11.9 kpc) from the center of the Milky Way. It contains 274 known variable stars, by far the most found in any globular cluster. These include 133 RR Lyrae variables, of which about a third display the Blazhko effect of long-period modulation. The overall abundance of elements other than hydrogen and helium, what astronomers term the metallicity, is in the range of −1.34 to −1.50 dex. This value gives the logarithm of the abundance relative to the Sun; the actual proportion is 3.2–4.6% of the solar abundance. Messier 3 is the prototype for the Oosterhoff type I cluster, which is considered "metal-rich". That is, for a globular cluster, Messier 3 has a relatively high abundance of heavier elements.
Corners of Houston, Lafayette, Mulberry and Jersey,, Nolita, Manhattan, New York City, New York, United States
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
Ogundipe Fayomi's monument for Dr. Ronald Erwin McNair (1950–1986) combines a traditional bust with a uniquely shaped pedestal. McNair was the African-American astronaut, physicist, teacher, and musician who died aboard the Space Shuttle Challenger when it exploded on January 28, 1986.
This park, formerly known as Guider Park, was named for Dr. McNair in the same year as the Challenger disaster. The City’s Department of Cultural Affairs sponsored a competition through its Percent-for-Art program to choose an artist to create a central sculpture. They ultimately selected the Nigerian-born sculptor Fayomi, who fashioned a sensitive bronze portrait, set within a nine-foot tall polished red-granite pedestal resembling a modified rocket ship. The pyramidal base features bronze relief with images relating to Dr. McNair’s achievements and interests.
Dr. McNair was born on October 21, 1950, in Lake City, South Carolina. He graduated from Carver High School in Lake City in 1967, and received a B.S. degree in physics from North Carolina A & T State University in 1971. In 1976, Dr. McNair completed his Ph.D. in physics at the Massachusetts Institute of Technology (MIT). After graduating from MIT, Dr. McNair was employed as a staff physicist at Hughes Research Laboratories in Malibu, California. His work there involved developing lasers for isotope separation and photochemistry, using non-linear interactions in low-temperature liquids. He also conducted research on electro-optic laser modulation for satellite-to-satellite space communications and explored the scientific foundations of the martial arts. A member of numerous scientific organizations and a visiting lecturer in physics at Texas Southern University, Dr. McNair also taught karate as a fifth-degree black belt and was a performing jazz saxophonist.
In 1978, the National Aeronautics and Space Administration (NASA) selected Dr. McNair as an astronaut candidate. He completed his training the following year, and became eligible as a mission specialist astronaut on Space Shuttle flight crews. He first flew as a mission specialist on Mission STS-41-B on February 3, 1984, which featured the first untethered spacewalk. Serving as a mission specialist on Mission STS-51-L, his life was tragically cut short when the space shuttle exploded one minute and 13 seconds into the launch. After his death, the Dr. Ronald E. McNair Foundation for Science, Technology & Space Education was established in Atlanta, Georgia.
When this monument was dedicated on June 14, 1994, family, friends, former colleagues, community representatives, city officials and hundreds of school children gathered in memory of Dr. McNair’s legacy. The monument and the park, which was renovated at the time of the sculpture’s installation, evoke a mood in keeping with Dr. McNair’s wish inscribed on the pedestal. It reads, “that we should allow this planet to be the beautiful oasis that she is, and allow ourselves to live more in the peace she generates.”
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.
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
An infographic detailing the history of guitar effects, starting all the way back to the 1930s with Rickenbacker’s Vibrola Spanish Guitar and progressing to the present day. Along the way, we’ll see iconic guitar-effect breakthroughs like gain and reverb in the 1940s to 1950s’ effects like fuzz (discovered by accidentally dropping a Fender Bass amp on a rainy street!) and distortion (the fortuitous discovery when Link Wray stabbed a hole in his amp’s speaker). The guitar effects hit their stride in the 1960s with the first transistor-powered guitar pedals, including the first wah-wah pedals and the first octave effect pedal among glorious others. The explosion of effects pedals in the 1970s reverberates today: signal alterations, distortion, modulation, time-based effects, and filter effects. A timeline of all these effects along with the iconic musicians who used what—Bo Diddley’s Trem Trol 800 Tremolo, Jimi Hendrix’s Leslie rotating speaker, the Rolling Stones’ Maestro Fuzz Tone, etc.
Feel free to use this infographic but please give credit with a link to www.songsimian.com. The original infographic, with embed codes, can be found here.
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
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 ]
Optimizer IVs Active Implantable Pulse Generator (IPG) by Impulse Dynamics. Intended for the treatment of heart failure through delivery of Cardiac Contractility Modulation (CCM) signals
WORMOD Art 330 : By passing from a basic design with various effects and modulations, a Kaleidoscopic Chrominance is obtained.
The first commercially available synth to implement MIDI!! It's a fun synth. Its big brother is the legendary Prophet 5. The P600 is very affordable today and is a great buy. Models with the newest software will enjoy polyphonic MIDI implementation and up to 100 memory patches to store their own sounds! The sound of the Prophet 600 is brighter and harsher than that of a Juno 106 but still just as funky.
The P600 has two oscillators per voice with sawtooth, triangle and variable pulse waveforms. The oscillators can be individually tuned or synced together. Similar quality VCF and VCA sections from the Prophet 5 can be found here too! The P5's Poly-Mod section has also been passed onto the P600.
The P600 is extremely versatile and easy to use! Its best functions include the onboard arpeggiator, 2-track sequencer and poly-modulation. The P600 is great for creating analog effects, swells and drones. It has a cool glide effect and has very flexible modulation possibilities!
Please visit www.winecountrysequential.com for spare parts and software upgrades.
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 ]
We present a method of rendering aerial and volumetric graphics using femtosecond lasers. A high-intensity laser excites physical matter to emit light at an arbitrary 3D position. Popular applications can then be explored especially since plasma induced by a femtosecond laser is safer than that generated by a nanosecond laser. There are two methods of rendering graphics with a femtosecond laser in air: producing holograms using spatial light modulation technology, and scanning a laser beam using a galvano mirror. The holograms and workspace of the system proposed here occupy a volume of up to one cubic centimeter; however, this size is scalable depending on the optical devices and their setup.
Credit: Yoichi Ochiai
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Corners of Houston, Lafayette, Mulberry and Jersey,, Nolita, Manhattan, New York City, New York, United States
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
Space Baby modulated beat-synced digital delay. This was the project for Handmade Music Austin #5 (along with the Bleep Labs PicoPao), which was on Feb 28, 2010. More information is available on woosteraudio.com/space-baby.html
§ Eventually, after a long sequence of successive impressions that incessantly compassed into our experiences, the journey is terminated to a dissolution of serenity when we stand confronting the frontage of central sikhara • The incremental aspect in the anthropometrical scale of sikhara is inverse to the decremental determination in the sensational space of our Self • When our expectation was aroused in each step of experiences, we finally can substantiate the salient characteristics of this destination • The architect articulated the modulation of scale and space as cogent mean to stimulate our delectation while enforcing us simultaneously to be aware of our deterioration before affirming them into emancipation at end •
§ The galleries that conjoin to each cardinal axis of the central sikhara project our eyes to elevate from the horizontal line to the finial • The massive form of God proposes incisively an effect to our senses and elicits an emotion to its plastic form that wakes a profound reverberation in us • The ever-diminishing tiers of the curvilinear sikhara assist our eyes to comprehend the finial, and thereby the infinite atmosphere above the sky and the Universe • The formal diminution of its superstructure, by the dimensional depth of its perspective in compliant with the inventive space of the vaporous cloud that oscillates about the finial, reveals the ingenious articulation of the architect in maturating our contemplation with deepest relaxation •
§ Angkor Vat is not an autotelic architecture • The manifestation of the Universe, the objective world of reality, the analogy of God to the subjective realm of Truth in Self, all were simply existed here • A brief tenancy of ego (ahamkara) in the world of human egocentrism in the past, the present, and the future is a mere delusion; only when we can deliberate ourselves from ignorance • Time is a reflexive force of space which contains in all animate beings with ignorance • Only quintessence of our Self-Realisation will terminate time and space of here and there everlastingly •
Crown XLS1000 DriveCore Series Power Amp Description:
Crown's XLS1000 power amplifier is a premiere portable PA system with unmatched performance, technology, and affordability. It includes multiple inputs so you can plug in anything and play anywhere, along with several system setup configurations. This high-performance Crown power amp provides enormous power and flexibility thanks to the integrated DriveCore Technology, PureBand Crossover System and Peakx limiters. Weighing less than 12 pounds, The Crown XLS1000 power amp is much easier to set up and move from show to show.
A Power Amp with Integrated DriveCore Technology Class D amplifiers are notable for extraordinarily high efficiency and being well suited for driving difficult reactive loads such as subwoofers. However, their performance can suffer impaired performance on marginal and unstable AC line supplies. To overcome this obstacle, Crown engineers developed DriveCore Technology—a proprietary hybrid analog-digital integrated circuit (IC) developed with Texas Instruments that drives the "front end" of the Class D output stage. Over 60 years of Crown's design knowledge and experience went into the development of this technology resulting in truly remarkable benefits. The DriveCore Technology incorporated in the Crown XLS1000 power amp provides an extremely wide tolerance with regards to sagging or "dirty" AC line conditions, providing consistent performance without affecting audio quality. This means the Crown power amp will not compromise your performance by fluctuating generator power, or overload from lighting rigs, backline gear, etc.
In addition, DriveCore Technology's patented feedback and PWM modulation circuits enable fast recovery on peak transients, accurate reproduction of low-level detail, and precise tracking of low-frequencies at high power levels for maximum subwoofer output.
Advanced Switched-Mode Power Supply
The advanced power supply in the Crown power amp is highly efficient and optimized for maximum power transfer from the AC line through the Class D output stage to the loudspeakers. A benefit to this is substantial weight reduction when compared to older 60Hz transformer-based power supplies.
PureBand Crossover System
The PureBand Crossover System in the XLS Series adds an enormous amount of flexibility and performance to any system. With this system, the crossover frequency is completely variable allowing the choice of any crossover point between 50Hz and 3kHz on 1/12 octave centers. The use of 4th order Linkwitz-Riley filters provides steep slopes for a seamless transition between high and low drivers. And with four crossover modes to choose from providing the ultimate in flexibility, all of your system needs are covered.
Peakx limiters
Peakx limiters provide the ultimate in performance and protection for your entire system. This advanced algorithm was specifically developed and tuned to work with this amplifier and power-supply to achieve higher SPL will less audible artifacts. This means less distortion, less shutdowns, and maximum safe power delivered to your speakers. The Peakx limiters can be easily turned on or off by channel right from the front panel eliminating the need to be digging around in the back of the dark rack.
Crown XLS1000 DriveCore Series Power Amp Features:
XLS High Performance, Lightweight Class D amp weighs less than 11 lb.
Integrated PureBand Crossover System for better performance and control
Peakx Limiters provide maximum output while protecting your speakers
XLR, 1/4", RCA inputs provide outstanding flexibility
1/4" Inputs can be used as loop-thrus to distribute signal to additional amplifiers Efficient forced-air fans prevent excessive thermal buildup
Electronically balanced XLR inputs; touchproof binding post and Speakon outputs
Precision detented level controls, power switch, power LED, and six LEDs indicate signal, clip and fault for each channel
Three-Year, No-Fault, Fully Transferable Warranty completely protects your investment and guarantees its specifications
SMS303 Tantek Tanrak (9 module Modular FX):
- Comp-Lim2
- Parametric Equaliser
- Enhancer
- Modulation Oscillator
Info:
Mid 1980's Tantek, Tanrak Studio Effects Rack which was available in kit form or ready built. These were bought as kits and put together by an electronics engineer. On the face of it, they're simple analogue effects - a bit old-fashioned, really - but that's the charm of them. They've perfectly useable and immediately accessible, so you'll have great fun fiddling with the settings - try sweeping the EQ frequency, or riding the delay time for on-the-fly munchkinisation, for instance.
Even better, you'll find new ways to patch the modules together. Everything - in, out and sidechain - is accessible from the rear panel (there's a default path from left to right across the rack if you don't want to use patch cords) so you can create LFO-modulated delay effects, frequency-sensitive compression ... you think of it, you can do it.
STEREO COMPRESSOR/LIMITER - A high quality stereo comp/limiter with variable input, slope, attack and release controls, and a switched 'key' input that can link both channels...handy for de-essing, ducking etc. It's pretty much 'invisible' when used as a limiter, only squeezing when the threshold is crossed (depending on the ratio setting). Great for laying vocal tracks, mix thickening, fattening up drums, percussions and bass. In fact, it can make anything sound 'phat' but still retains that important top-end clarity.
MODULATION OSCILLATOR - A CV modulation source whose features include sinewave output, variable duty cycle, key or CV controlled depth, triggerable sweeps and two independently variable outputs. Used with the muli-dealy to create chorus, flanging etc.
Escalinata Ryerson
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 ]
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
Video here: www.youtube.com/watch?v=XrHkvvtrXhA
The Crazy Looper is a small handmade device that allows you the create real-time noise loops with a fast modulation metallic effect.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
I'd wanted them for a couple of years, and finally I found a local source for PURPLE LED fairy (faerie? feri?? no.) lights, and hooboy was I happy! Yay! Purple LED lights, no shipping! As soon as I got home I strung them up.
But- wait! I know one or two things about semiconductor physics and engineering -- and there's NO SUCH THING as a purple LED! What's going on?!
A photo of a guitar cabinet I own that was taken the day I got it in 2003.
Custom built by VibroWorld:
Not at all what it looks like. This is a sealed 4 x 12" as opposed to the classic Hard Trucker 4 x 12" open back cabinet. The form factor is all manner of groovy and you can get the feeling of playing in front of a stack with half as many speakers which work better anyway in this line array.
Of course seeing the old McIntosh MC 2300 tells you where the inspiration came from, but this pair have actually spent most of their time as an "Entwistle Module" in a bass rig. I split the signal and send the wooly low end to my SVT and then use this with a pedalboard to add distortion, modulation effects and Echoplex to a signal with a little of the bass rolled off. Which is, of course, why it's a sealed cab and using more neutral speakers than Jer's rig did.
What I'd really like to do is add a pair of 15" Bag End cabinets and send the lows to that, as well. And if I was Jack Bruce or someone with a small pack of roadies following me around I would, but even the SVT and this amounts to too much for me to carry without a lot of Advil.
Al Centro DINO CAMPANA non si scherza.. e si spazia anche sul SANITARIO……Donne in primo piano.. ed i Progressi della ONCOLOGIA
Stefano Tamberi
Professore a contratto a titolo gratuito
Scuola di Medicina e Chirurgia
Curriculum Vitae
Nato il 26 giugno 1967, ha conseguito la laurea in Medicina e Chirurgia nel 1992 con 110 e lode presso L'Università di Bologna. Nel 1997 si è specializzato in Oncologia con 70 e lode presso l'Università di Bologna e consegue nel 2001 il dottorato di ricerca in Oncologia Gastrointestinale presso l'Università di Modena e Reggio Emilia. Vincitore dei premi "E.Baroni" e "Evaristo Stefanelli" per la ricerca in oncologia presso l'Università di Bologna negli A.A 1997 e 1998. Dal 2010 è direttore dell'UO di Oncologia dell'Ospedale di Faenza.
Le principali aree di ricerca clinica oncologica sono state nel corso degli anni la patologia oncologica polmonare, gastrointestinale e ginecologica. Membro attivo dei principali gruppi di ricerca nazionali e internazionali di tali ambiti (Gruppo MITO, Gynecologic cancer tergroup, GISCAD etc) è stato principal investigator di numerosi studi internazionali sui tumori dell'ovaio, del polmone e dei tumori del colon.
Ha sviluppato negli ultimi anni un interesse particolare perl'approccio psico-sociale al paziente oncologico con un periodo di visita presso le principali istituzioni del Quebec (Canada) per lo sviluppo di un processo organizzativo di cure oncologiche centrate sul paziente. Ha sviluppato progetti di supporto clinico psiconcologico a pazienti affette da carcinoma mammario operato con l'istituzione di supporto psicologico di gruppo e la consulenza psicologica prevista nella quotidiana attività clinica. Tali progetti pilota sono stai presentati nell'ambito del progetto "Empatia" della Regione Emilia Romagna (RER). Ha partecipato al corso regionale sulla "Health Literacy" tenuto dalla Prof.ssa Rudd (Harvard - Boston) e ha sviluppato progetti innovativi di comunicazione nel personale medico e infermieristico da lui diretto.
Alcune sue Pubblicazioni
1. Carboplatin, Fluorouracil and L-Folinic Acid in the treatment of Advanced Squamous Cell Carcinoma of the Head and Neck (SCCHN) . Guaraldi M., Martoni A., Morelli F., Panetta A., Tamberi S., Pannuti F. Annals of Oncology 5 (suppl.8):123,1994
2. A phase I-II study on 5-day 5-Fluorouracil continuous infusion with levo-Folinic Acid modulation in advanced colo-rectal cancer. Martoni A., Angelelli B., Panetta A., Tamberi S., Pannuti F. Proceedings of the "XVI International Cancer Congress". New Delhi 30 ottobre-5 novembre 1994
3. Combined chemo-immuno-ormonotherapy of advanced renal cell carcinoma. Panetta A., Martoni A., Guaraldi M., Tamberi S., Casadio M., Lelli G., Pannuti F. Journal of Chemotherapy 6:5,349-353, 1994
4. Prevalenza e caratteristiche morfologiche di lesioni polipoidi del tratto digestivo superiore nella poliposi adenomatosa familiare. Santucci R., Volpe L., Calabrese C., Poggi B., Di Febo G., Tamberi S., Biasco G. "I Tumori gastrici. Bilanci e prospettive" Roma 9-11 novembre 1995
5. Terapia cronomodulata dei tumori solidi. Biasco G., Brandi G., Tamberi S. G.Biasco. "Trials clinici in oncologia". Bologna, 1995
6. Abnormal mucosal cell proliferation as a biomarker of gastrointestinal cancer: methodological issues and clinical applications Biasco G., G.M.Paganelli, U.Zannoni, G.Brandi, R.Santucci, M.Renga, P.Mordenti, S.Tamberi, L.Barbara. Journal of tumor marker oncology vol.10 ,2, pag.89, 1995
First successful test of an improvement to the PWM synthesis code that allows user-defined envelope shapes. This one is a computed exponential decay, similar to a stringed instrument being plucked. The resolution is only 8 bits, but the result looks OK.
Features:
- Bluetooth 3.0 interface with AIROHA AB1108 as main control chip
- WIDCOMM BTW Bluetooth technology which is officially approved by Microsoft
- Stylish protective PU leather case designed for iPad Mini with display stand for easy viewing
- Light weight,quiet keystroke,dust proof and spill-proof
- Energy saving keyboard with sleep mode
Specifications:
- Executive standard:Bluetooth V3.0
- Working distance:10 meters
- Modulation system:FHSS 2.4G
- Transmitting power:Class 2
- Operating voltage:3.0-5.0
- Working current:<4.0MA
- Standby current:≤1MA
- Sleeping current :<200UA
- Charging current :≥100MA
- Standby time:60days
- Uninterrupted working time:30 hours
- Charging time:4-4.5 hours
- Lithium polymer batter Capacity:330MAH
- Lithium polymer batter life:3 years
- Lithium polymer batter Specifications:40*15*50mm
- Key strength 80±10g
- Key life:5 millon
- Operating temperature:-20℃~+55℃
- Storage temperature:-40℃~+70℃
- Humidity:20%-50%
Packing Contents:
1 x Leather Case w/Keyboard
1 x USB Power Charging Cable
1 x Bluetooth keyboard manual
www.casesinthebox.com/leather-protective-case-with-wirele...
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
Jamis DXT Dual Sport Bicycles ON/OFF road hybrids: What are they? This is a hybrid with a mountain bike position but with road wheel 29” 700c wheels that are a bit wider then road hybrids so they are great for all round use: roads, dirt roads, a bit of mud as well. You can put wider tires with bigger tread as well if you want to go hard core off roading. They also have suspension forks and mountain bike gears so they are like a light weight fast mountain bike.
The dual-sport DXT’s are pumped-up, go-anywhere/do-anything versions of our Allegro fitness bikes. With more gearing range to take on steeper hills and tougher terrain. Wider tires with a trail-capable tread for access to more riding areas, both paved and packed. And disc brakes and suspension forks for real off-road exploration and off-pavement adventure.
Fast Tires: The advantage of large diameter wheels is getting a lot of press these days with all the noise and news about 29’er mountain bikes. We like to think that the DXT is one of the original 29’ers. With big 700c hoops (same as a 29’er) that roll over bumps & holes better than smaller diameter 26” or 27.5” wheels, and with a bigger contact patch for greater traction and control. But in the case of the DXT, with a smaller 40c width & smoother tread that significantly reduces rolling resistance over fatter, knobbier mountain bike tires for faster sailing on streets and paths.
Absolute versatility: Every DXT offers a full complement of eyelets and rack mounts to simplify installation of carriers and fenders. We even include bosses on the underside of the seatstays for installation of a ring lock. Ring locks are tremendously popular in Europe. A simple turn of the key immobilizes the rear wheel and prevents someone from riding off with your bike.
Go Anywhere. Do Anything: The drivetrains on our DXT bikes feature long cage ATB rear derailleurs, full-size triple chainring cranksets and big 11-34 or 32T cassette blocks. This gives you the dual advantage of having high road bike gearing for controlled pedaling at speed on descents and low mountain bike gearing for easier pedaling uphill.
Full Shimano Shift Systems: Fully integrated shifting systems offer the most precise and reliable performance. That’s why every DXT offers Shimano shifters, Shimano front and rear derailleurs, Shimano cranksets and Shimano cassettes.
Awesome brakes: The advantages of disc brakes over rim brakes on a versatile bike like the DXT far exceed their sole disadvantage, weight gain. Besides their incredible power and modulation, they’re just plain safer, especially in the rain. Once rims get wet or muddy, using friction to stop the wheel at its circumference is less efficient than using friction to stop a less wet or muddy small diameter disc near the center of the wheel from rotating. And eliminating the rim from braking surface duties results in a longer lasting wheel
Suspension When you need it, Lock out when you don’t: The advantage of a suspension fork should be intuitively clear: hit a bump and absorb it. Hit a bump and stay in control of your bike. But suspension isn’t always desirable. When riding on smooth pavement or climbing, pedaling energy and power can be absorbed and dissipated by the movement (bobbing) of the fork. Enter lockout. With a flip of a knob on the top of the fork, the fork’s travel can be locked from movement, allowing the bike to be 100% responsive to pedaling input .
Adjustable Cockpit height (stem adjustment): Proper fit on your bike is critical for maximum performance and comfort. That’s why we offer the patented ATS adjustable threadless steering system on the Allegro Elite and Comp models. Whether you want to fine tune your ride and establish the perfect fit, or change it regularly to suit different terrain, with this stem, adjusting your handlebar height is as easy as adjusting your seat post height. You can even adjust it quickly while out on a ride.
2016 DXT Sport $586 WAS $853
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2015 DXT SPORT STEP THROUGH $599 WAS $955
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2015 DXT COMP $817 WAS $1279
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2016 DXT COMP $699 WAS $1069
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2016 DXT ELITE $899 WAS $1459
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2017 DXT SPORT $771
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2017 DXT SPORT FEMME $771
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
www.rbinc-sports.com/jamis-factory-outlet-store/jamis-dxt...
I've not found the correct 9 volt battery for this yet, but it does play when I apply 9 volts to the terminals.
Complete back view of set. Two aerial sockets might seem strange to some, but is quite normal for 405 line sets post 1953. The initial BBC allocations were all Band 1, but when ITV joined the scene, Band 3 was opened up. Multiband aerials were not popular in the UK, possibly because they were seen as a compromise, except for good signal areas, and also that transmitters were not always co-sited.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
int ledPin = 13; // LED connected to digital pin 13int h=1;
int h = 1;
int h2=0;
int h3=0;
int h4=0;
int h5=0;
int h6=0; // direction memory motor 1
int h7=0; // direction memory motor 2
void setup() // run once, when the sketch starts
{
pinMode(4, OUTPUT); // pwm motor 1
pinMode(6, OUTPUT); // pwm motor 2
pinMode(5, OUTPUT); // direction motor 1
pinMode(7, OUTPUT); // direction motor 2
pinMode(13, OUTPUT); // PWM INDICATOR LED
pinMode(2, INPUT); // direction motor 1 - input test switch
pinMode(3, INPUT); // direction motor 2 - input test switch
digitalWrite(4, LOW); // motor 1 off
digitalWrite(6, LOW); // motor 2 off
digitalWrite(5, LOW); // motor 1 direction L - low
digitalWrite(7, LOW); // motor 2 direction L - low
}
void loop() // run over and over again
{
h5 = digitalRead(2); // motor 1 direction
if (h5!=h6)
{
h6=h5;
digitalWrite(4, LOW); // motor 1 pwm low - stop
delay(1000);
digitalWrite(5, h5); //
delay(1000);
}
h5 = digitalRead(3); // motor 2 direction
if (h5!=h7)
{
h7=h5;
digitalWrite(6, LOW); // motor 2 pwm low - stop
delay(1000);
digitalWrite(7, h5); //
delay(1000);
}
digitalWrite(4, HIGH); // motor 1 2 pwm high
digitalWrite(6, HIGH); //
digitalWrite(13, HIGH); //
h5 = analogRead(0); // read the value from the sensor
while(h5>0){
h2 = analogRead(0); // read the value from the sensor
while(h2>0){
h2--;
}
h5--;
}
digitalWrite(4, LOW); // motor 1 2 pwm low
digitalWrite(6, LOW); //
digitalWrite(13, LOW); //
h4 = analogRead(1)*2; // read the value from the sensor
while(h4>0){
h3 = analogRead(1); // read the value from the sensor
while(h3>0){
h3--;
}
h4--;
}
}
Intension - I wanted to capture the beautiful flowers at Franklin park.
referencing reading - freeman states removing the quality of color from an image enhance its other qualities. With the modulation entirely in tone, the eye pays more attention to texture, line, and shape.
edits - converted the image to black and white, added more contrast, increased the yellows/greens. cropped the image.
(L - R) Jason Lowery (graduate student), Elizabeth Sztul (PI), Jahn Wright (graduate student), Paulina Wyrozumska (post-doc), Jay Bhatt (graduate student),
Eunjoo Lee (research assistant).
The Sztul lab "aims to understand how cells deliver proteins to their surface and develop a “virtual” time and space map of the molecular events that regulate protein movement. The ultimate goal of our studies is to provide a detailed molecular understanding of protein traffic as the basis for the development of disease-specific therapies. Currently we are using our expertise in membrane trafficking to address two specific questions: (1) modulation of glucose transporters trafficking independent of insulin and (2) to induce apoptosis of cancer cells by inhibiting ER-Golgi traffic."
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Noto
Book :
Christian Marclay
Shuffle
Aperture
2007
CD :
Random Industries
Selected Random Works
Ritornell
RIT15
Design . Angela Lorenz
'You may play this CD on a random / shuffle position
on your CD player.'
Sebastian Meissner
iMusic :
Cavern Of Anti - Matter
Phase Modulation Shuffle
Duophonic
DUHF38
MGA ...
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
Microbiology Test Piece Medi-Ca of DNP Medi·Ca Culture Dish Media
Make food microbiological testing much easier and more effective
Compared with the agar medium, our bacterial culture media plate makes the detection of food microorganisms easier, more standardized, and more efficient, but without pollution.
1. Culture media ready to be used after opening;
2. Colonies easy to see;
3. Reduce the culture area and waste.
Notes
1) The product is used for the microbiological examination of foods and beverages, and cannot be used clinically.
2) Do not open the tectorial membrane before transplanting the sample.
3) Do not use expired products.
4) Do not use products that are damaged, deformed, discolored, dirty, or foreign matters.
5) Do not expose the product to ultraviolet light or sunlight.
6) Do not press the film after the sample liquid is dropped. This will cause the sample solution to overflow to the outside of the culture area.
7) When the sample solution overflows from the culture area, replace it with a new one.
8) If the product enters the eye or mouth, immediately wash it with water and go to the hospital.
9) When using the product, it is susceptible to microbial contamination. Perform specific operations under the guidance of relevant qualified personnel.
10) Please note that the sample or the product that has been in contact with the sample liquid is a contaminated item.
Preservation method
Keep in cold storage (2~8°C), fold it twice at the opening of the bag after breaking, and fix it with tape.
Validity period
The validity period of the product is written on the aluminum bag and the upper part of the product (the date described after "EXP" is the validity period). Please use the aluminum bag within 3 months after opening.
Abandonment method
The product has a risk of secondary pollution after use. Therefore, after proper sterilization, it should be disposed of according to the waste standards of the respective samples and related facilities.
Guarantee responsibility
When the product defect is obvious, replace the corresponding quantity with the new product. The judgment and application of the inspection results are the user’s responsibility, and the manufacturing company and the agent of the product are exempt from liability.
Quantity per carton
Medi-Ca AC and Medi-Ca CC: 1000 sheets
Medi-Ca EC and Medi-Ca SA: 500 sheets
Performance Characteristics of DNP Medi·Ca Culture Dish Media
Medium ready to be used after opening
The product does not require pre-modulation and autoclaving, just check it. No need for mixed release. Double layer coverage is easy to operate which will improve working efficiency.
Colonies easy to see
Due to the use of the color former, the colonies are clearly visible and easy to discriminate. It is beneficial to improve the working efficiency of counting bacteria and working standardization. In addition, since Medi-Ca AC is a bacillus, it is one of the characteristics that the coloring penetration is relatively small.
Reduce the culture area and waste
Compared with the culture dish, it can be reduced to about 1/15~1/20, which can reduce the storage space and the waste after use.
Variety introduction
The Culture Media Plate Medi-Ca is not considered for personal visual differences but produced according to the coloring universal design that most people can easily see, and is also certified by the NPO corporate coloring general design agency.
Usage Method of DNP Medi·Ca Culture Dish Media
1. Sample liquid preparation
Add appropriate sterile dilutions to the sample and homogenize with a homogenizer.
2.Pipetting into the culture area
3.Culture
Put into the incubator, the product can overlap up to 25 pieces.
4．Judgment
SA uses chromogenic enzymes to easily determine and count bacteria.
When the bacteria number is large, please perform statistics in the grid on the film (1cm × 1cm).
Multiply the bacteria number in a grid by the total grids number
5. Fishing for colonies which can be re-cultured
Remove the bacteria by opening the membrane.
Colony Count System
By using the colony counting system (dedicated scanner and application), high-resolution images can be analyzed, and automatic counting and inspection result image storage management can be realized in a short time, which can improve the counting efficiency.
Tear off the foil pouch and remove the required amount.
Medium TypeCulture temperatureCulture time
Media-Ca AC
(Measurement of general bacteria amount)35 ± 1 ℃48±2 hours
Media-Ca CC
(Measurement of Coliforms)35 ± 1 ℃24±1 hours
Media-Ca EC
(Measurement of Escherichia coli and Coliforms)35 ± 1 ℃24±1 hours
Media-Ca SA
(Measurement of Staphylococcus)35 ± 1 ℃24±1 hours