Inner panel: the oscillators

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

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

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

Generates 0.001 Hz - 5 MHz sine, triangle, square and pulse waveforms. Plus it has ext. FM modulation, sweep and crystal lock modes.

My fleamarket find this weekend. It's in immaculate shape, works perfectly, and it came w batteries and a "Rock On" ROM card w Listen to the Music (gay), Escape (the Pina Colada song, one of my fkn favorites), Ventura Highway (awesome) and Slow Hand (eh).

amorphica.com/networked.html

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 ]

Plaza Intersección Ryerson y Ruiz -

Ensenada, Baja California

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

amorphica.com/networked.html

www.facebook.com/amorphica

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

Instructors:

Monika Wittig [ LaN, IaaC ]

Shane Salisbury [ LaN, IaaC ]

Filippo Moroni [ SOLIDO, Politecnico di Milano ]

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

Aaron Gutiérrez Cortes [ Amorphica ]

This is a view of the electronics inside the model R/C tank I am designing on a gearbox + Tracks & wheels from Tamiya. The radio is Hitec and two receiver servo outputs feed my microcontroller-based Pulse Position Modulation output into Pulse Width Modulated power output to the two motors. Full details at www.5volt.eu

Captured 5 May 2021, 23:00 hrs ET, Springfield, VA, USA. Bortle 8 skies, Mallincam DS10C camera, Celestron 8 inch SCT f/6.2, exposure 14 sec, gain 20, bin 1, stack of 50 light frames, dark and flat frames subtracted, no filter.

Clouds: clear

Seeing: 30, good

Transparency: 30, good

Moon phase: 33%

FOV: 44 x 34 arcmin before crop

Resolution: 0.8 arcsec/pixel

Orientation: Up is South

Apparent magnitude: +6.2

Apparent size: 18 arcmin

Appearance: Beautiful rich star 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 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.

Architect : Antonio Bonet

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.

Gryffin 98.

BEST AND AFFORDABLE 200-HOUR YOGA TEACHER TRAINING DHARAMSALA CURRICULUM INCLUDES:

Study of Yoga asana (proper alignment, variations, modifications with the ability to minimize the risk of injuries and Hands-on adjustments)

Art of Yoga sequencing and improvisation in the class.

Observation with specific angles related to a Yoga posture.

Intelligent use of props to help improve Yoga practice at its early stages.

Cultivation of Command through voice modulations.

Yoga Postures with their Sanskrit Names and terminology.

Confidence-building through Yoga practice Yoga teaching.

Yoga Principles of anatomy-physiology and its correlation with Yogic Science.

Yoga Philosophy, Ideas.

Spirituality and ethics with Business of Yoga.

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...

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

Eddie in the center, his wife Ray Dooley on the right, a Ziegfeld star comedienne, and their son, John, faintly, on the left.

"Dowling, Eddie [né Joseph Nelson Goucher] (1894–1976), actor, director, producer, and playwright. Born in Woonsocket, Rhode Island, he made his acting debut in nearby Providence in 1909 in Quo Vadis? After spending some time in England, Dowling returned to America to join the Ziegfeld Follies of 1918 on tour. His first New York appearance was as a policeman in Victor Herbert's The Velvet Lady (1919), after which he performed as a song and dance man in the 1919 and 1920 editions of the Ziegfeld Follies. He co‐wrote and starred in Sally, Irene and Mary (1922) for three seasons, co‐authored another starring vehicle for himself, the successful Honeymoon Lane (1926), then repeated the same chores for Sidewalks of New York (1927) with his wife, Ray Dooley. For several seasons the couple toured in vaudeville, then made a final musical appearance (except to replace a star in later years) in Thumbs Up! (1934), which he also produced. Thereafter, his career took an unusual turn for a performer until then identified with the most frivolous musicals. He was acclaimed for his work in a number of distinguished straight plays, although his triumphs were interspersed with several dismaying dry spells. In 1938 he produced and appeared in Philip Barry's curious religious fantasy Here Come the Clowns, then directed and played in The Time of Your Life. Another major success was Tennessee Williams's The Glass Menagerie (1945), which he directed and co‐produced and in which he created the role of Tom. In 1946 Dowling directed The Iceman Cometh. John Mason Brown wrote of his direction, “His groupings are fluid; his modulations of pace admirable; and his eye for the pictorial unflagging. He never fails to heighten and interpret the meanness of life, so that they cease to be photography and emerge as art.” He won further praise when he directed and acted in a bill of one‐act plays, the best of which was Hope Is the Thing with Feathers (1948). Except for his stint as James Barton's replacement in Paint Your Wagon (1952), all his subsequent endeavors were short‐lived."

Read more: www.answers.com/topic/eddie-dowling#ixzz1wyfGr0ve

Ray Dooley was a star in her own right. Her obituary in the New York Times:

"Ray Dooley, a star of vaudeville and a successful comedienne until she retired to family life in the mid-1930's, died early yesterday at home in East Hampton, L.I. She was 93 years old.

Miss Dooley, born Rachel Rice Dooley in Glasgow in 1896, took to the stage as a little dancing girl in a family act presented by her father, Robert Rogers Dooley, a well-known Irish-born circus clown. Her debut was made in a minstrel show in Philadelphia.

She went on to play babies and brats in the ''Ziegfeld Follies'' after World War I to such stage ''parents'' as W. C. Fields, Will Rogers, Leon Carroll and Fannie Brice. She tired of the act and its tantrums early on, but Florenz Ziegfeld kept her at it until she managed to escape the ''two-a-day'' world of vaudeville for the musical stage.

She was the widow of Eddie Dowling, himself an entertainer, director and award-winning producer who died in 1976. Miss Dooley had eloped to marry him at age 15 and from 1919 to 1934 often teamed up with him, from the Follies to Mr. Dowling's revue ''Thumbs Up'' in 1934, after which she devoted herself to her family.

Miss Dooley returned briefly to the stage in 1948 to tackle a straight dramatic role in one of three one-acters presented by Mr. Dowling under the title ''Hope's the Thing.'' Appearing in ''Home Life of a Buffalo,'' she played opposite Mr. Dowling, who portrayed a vaudeville ham unable to admit to himself or his wife that vaudeville was through.

Her baby impersonations began quite by chance in 1918 when Raymond Hitchcock, the actor-producer, put on ''Kitchy Koo'' and a baby buggy used for an incidental gag in a drugstore scene turned out to be too small for another performer. The elfin-faced Miss Dooley, 100 pounds and 5 feet tall, substituted and launched her comedic career.

She soon wanted out of the act, but - the story goes - Mr. Ziegfeld talked her into signing contracts with promises that she would be given another part. Once the show came together, he then devised some ''emergency'' and asked her to ''help out'' with yet another baby act.

Once free of vaudeville, Miss Dooley starred in Mr. Dowling's production of ''Sidewalks of New York'' in 1927. The following year, she appeared with W. C. Fields in the seventh edition of ''Earl Carroll's Vanities.''" New York Times Jan 29, 1984

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--;

}

}

A PANO-Vision of Temporal Displacement Modulation in space. You can listen to the past, present or future when you tune your radio to TDM/7300!

A photo of a guitar cabinet I own that was taken the day I got it in 2003.

Custom built by VibroWorld:

www.vibroworld.com/

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.

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

amorphica.com/networked.html

www.facebook.com/amorphica

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

Instructors:

Monika Wittig [ LaN, IaaC ]

Shane Salisbury [ LaN, IaaC ]

Filippo Moroni [ SOLIDO, Politecnico di Milano ]

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

Aaron Gutiérrez Cortes [ Amorphica ]

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...

Custom Italian Sub-Miniature Tube Overdrive

www.customanalogpedals.com/the-italian-tube-overdrive/

Intention: I wanted to capture the feeling of what it’s like when you’re in your car when it’s raining. How it sounds completely different when your inside a car than when your outside

Reference: Freeman “black and white allows more e pression in the modulation of tone, in conveying texture, the modeling of form, and defining shape”

Outcome: the rain on the windshield and the dark skies gives the implication of rainy weather.

Edits: I decreased the highlights and added contrast while increasing the dehaze and clarity

amorphica.com/networked.html

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 ]

Escalinata Ryerson

Ensenada, Baja California

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

amorphica.com/networked.html

www.facebook.com/amorphica

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

Instructors:

Monika Wittig [ LaN, IaaC ]

Shane Salisbury [ LaN, IaaC ]

Filippo Moroni [ SOLIDO, Politecnico di Milano ]

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

Aaron Gutiérrez Cortes [ Amorphica ]

Vargas Zamora, Fernando Rodolfo de Jesus (22 September 1928 – 20 February 1989)

Raised a Catholic, Vargas renounced Catholicism when as a teenager he left Costa Rica. The co-founder of Variety Recording Studio in New York City, Vargas was a significant figure in show business from the late 1950s until his death in 1989.

Vargas was the son of Manuel Elias Vargas Cordero, a department store owner, and Elena Zamora Paniagua. Their children were Aura Vargas de Moreno, Eugenia Vargas Zamora, Nery Vargas Zamora, Elena Vargas Zamora, and Otto Vargas Zamora. Fernando was the last-born.

When 16 and a student at Colegio Los Angeles in San José, Vargas earned his best grades in biology and history, his weakest in religion and English. His father owned a large department store, in which he worked and was allowed to handle money. His youth was spent excelling in sports, riding a bicycle, visiting relatives in Cartago, Heredia, and Alajuela, and spending time near Teatro Melico Salazar and the Parque Central, the park on Calle 14 that he knew the best.

His hard-working mother supervised several servants and looked after her large family. When her husband died, a big tomb was erected at Cementerio Obreros, for he was an important person who once had dreams of becoming President. MANUEL ELIAS VARGAS CORDERO was written on the tomb, which had an angel atop. Later, members of the family were to be buried there next to Father and Mother.

On 3 May 1946, at the passport office Fernando received his passport and on 22 May 1946 he, his sister Elena, and his mother arrived in Miami. His Alien Registration Receipt Card was #6312922. Quickly, Selective Service on 3 Dec 1946 gave him a registration card that showed he had green eyes, was white, had brown hair, was 5' 7", and weighed 132.

When he was 8 months older than 17, Vargas arrived at 175 Claremont Avenue, New York City. His mother, sister, and he lived in a one-bedroom apartment between 123rd and 125th Street near the International House and the Manhattan School of Music. It was just west of Harlem, and he and his sister were not allowed to walk in the neighborhood, which their mother thought was dangerous. Little by little, they were allowed to go together around the immediate neighborhood. Much of his time was spent watching TV or going shopping with his sister for groceries or supplies. In the evenings they eventually got tired of supervising him and allowed him to go out alone. He spent lots of time around the corner at Grant’s Tomb, 122nd Street.

Almost every time that he went to Grant’s Tomb and walked around Riverside Park, he found people who were Columbia University professors, students, and professional types. Also, as was the case at Parque Central near his home in San José, he noticed some younger and older males who were looking for sex. Although they were relatively rare at Parque Central, they were quite numerous in that section of Riverside Park. If you sat on a park bench alone here, someone might sit down next to you and if you just sat in a slouched position, your hands clasped behind your head, someone would unzip your pants and play with you.

His first introduction to sex had been when he was an altar boy and a Catholic priest, who pretended it was accidental, touched his crotch. Asking a childhood friend whose family was German and imported toys if the priest had ever pulled his pants down to see his penis, he found that had happened to him, also. The German boy was a best friend, was heavier and easily beaten in races. But on one occasion his friend claimed he had something bigger than Vargas did and, bragging, pulled out his pene and "testículos." Then, his friend had put one of Vargas's hands on his own crotch, which felt good, and he reciprocated. Not knowing whether to tell an older brother or anyone else, he decided he might get in trouble both with the church and his family and said nothing.

Between Riverside Drive and the Hudson River, the park was extensive. There was a tennis court, a skating area, and there was a big sports area before you got as far downtown as 96th Street. Whatever transpired while cruising the area, he had to make sure he got home before 10 p.m.

Harold Bonilla, who was Costa Rica’s consul in the city, accidentally met him in the park and asked him to move in with him nearby on 103rd Street. It was not difficult to obtain his mother's approval, for here was a person who wrote history books, was a Catholic, and mentioned that he might be able to get Fernando a job and schooling.

Now exactly 20, finding no jobs but not having to pay any rent, Vargas moved in. But when "Major" Bonilla was at work, Vargas hung out in the nearby Riverside Park.

Just up from 103rd Street one day in September 1948, he saw a college student sitting alone. The guy was friendly, said hello, and Vargas's response sounded to the stranger as if he were French. What transpired that day, the first week in which the stranger had arrived on the GI Bill to study English at Columbia University, has been described in Warren Allen Smith's biography/autobiography of their 40 years together. Bonilla helped Vargas get a job in Manhattan's Garment District, one in which he used a sewing machine to stitch garments and was paid by the piece.

But in 1949 Vargas moved from Bonilla's place with Smith to a furnished room on 109th Street, where their Austrian landlady, Sophie Likar, liked them so much she allowed them alone of her various renters to share her refrigerator. Smith now had earned his M.A. at Columbia - Vargas took a photo after Eisenhower handed him the sheepskin - and began teaching English at Bentley School on 86th Street. He answered an ad for Vargas that led to his being interviewed by R. E. L. Lab, where he made a favorable impression on Edwin Armstrong after being coached about how to weld a certain item. Hired, he found Armstrong avuncular and confiding his problems. Telling Armstrong he lived on 109th near Columbia, he learned that his boss taught there and in 1913 had discovered regeneration. With talk about amplifiers, feedback, and oscillators, the work turned out to be educational and enjoyable, particularly when Edwin - they soon were on a first-name basis - told of being paid only $1 by Columbia but was earning money from his patents. He allowed the military to use royalty-free his findings about FM - frequency modulation - but when the war ended RCA claimed that they, not he, had invented it and they were suing each other. Edwin complained that he became nearly bankrupt from defending his patents, that his wife had left him in the middle of all this, and in 1953 his licenses and patents would all expire. He did not confide everything all at once, but on some days when agitated he would tell bits and pieces about having made the first portable radio and advanced AM radio and on other days he was like a friendly uncle.

In 1954, Edwin dressed neatly, walked to a 13th story window, and jumped out. His body hit a third story overhang. Vargas was devastated. Later, Armstrong's wife settled with RCA for over a million dollars. Vargas then studied electrical engineering at RCA Labs in Greenwich Village, West 4th and Greenwich Street, receiving a certificate in a year.

When Major Bonilla told them that a 1 1/2 room apartment adjacent to his own on 103rd Street was vacant (and had once been lived in by a mistress of Costa Rican President Rafael Calderón Guardia), the two moved into their first apartment together.

Upon hearing from one of his many gay friends that Audiosonic Recording Studio was looking for someone who knew about electrical engineering, Vargas applied for the job at the Brill Building on Broadway and was hired as a temporary the same day by Bob Guy, the studio's owner.

When one of the engineers mentioned that there was a vacant 2 1/2 room apartment at 425 West 45th in Hell's Kitchen, Vargas and Smith moved into Apartment 3FW where the rent of $194.40/month was only slightly more than the one back on 103rd Street.

By 1961, Audiosonic was floundering. Guy, the bi-sexual owner, was kiting checks and had put a prima donna trick on the payroll, Vargas complained. Fellow engineer Joe Cyr warned that they might all need to look for a job somewhere else. Vargas's and others' paychecks began to bounce and, at a quickly called meeting the owner said, yes, the place was bankrupt, he was sorry the paychecks were no good, and Eaton Factors that was owed money was going to shut the place down.

Cyr and Vargas, explaining this to Smith, suggested the three together might try to salvage the company by working with Eaton Factors. It was agreed that the three would be equal owners of a Sub-Chapter S corporation that would be set up. Space at Variety Arts, a major rehearsal building on 46th Street, became available. With many difficulties, the three not only founded Variety Sound Corporation but also included Guy as a partner because he had contacts with all the clients and would include Ad-Lib, his company that made radio jingles for stations.

In April of 1961, Variety Sound Corporation was formed. Smith and Vargas also started Variety Recording Service, a d/b/a that separated Variety Sound Corporation's recording income from Vargas's wholly owned dub-cutting business. The agreement with Guy included the stipulation that only Smith could sign checks, and eventually it was arranged that Guy would exchange his one-fourth interest in Variety Sound for his entire Ad-Lib company. With Guy no longer associated with the business, Variety continued profitably until Vargas's death in 1989.

Philosopher Corliss Lamont came early one morning to Vargas's 103rd Street Manhattan apartment to speak with Vargas’s roommate, Warren Allen Smith. Finding Vargas in red pajamas, he said, “Oh, your roommate rooms with the Devil?” It was Vargas’s first introduction both to a Columbia University professor and to a bona fide naturalistic humanist.

On another occasion Vargas attended Charles Francis Potter’s humanist “church,” laughing at the lecture on the joys of sex. But astronomy, not religion or academic philosophy, was his major diversion. A nominal member of the Bertrand Russell Society, he was only mildly interested in the various philosophers. For its founding meeting in 1989, he allowed the New York Chapter of Secular Humanists to meet in his recording studio and became its first member.

To have lived a great life, no matter how long, is life’s purpose, he believed. To that end he mastered acetate disks, using his own inventive modification of a Scully lathe and being one of the few in the Greater New York Area who could operate such a machine; recorded Broadway plays, working with Arthur Miller ("After the Fall," 1964), Paddy Chayevsky ("Joseph D," 1964], Robert Whitehead ("Medea," 1982), Hal Prince, "Fiddler on the Roof," 1964; David Amram ("Joseph D," 1964); worked with internationally known songwriters and performers (he recorded Liza Minnelli’s first demo record, at which Marvin Hamlisch was accompanist in 1963); worked with songwriter Jerry Bock on “Fiorello” (1959) and “Fiddler on the Roof” (1964); completed master acetates from 1961 to 1990 for Sun Ra, arguing over wine with him about mysticism; and was well-known among a who’s who of Broadway and Latino musicians and artists.

Vargas produced a collector’s LP of “Costa Rica’s Caruso, "Manuel Salazar."

He sang “I-gotta-be-me” and fearlessly ventured on life’s less-traveled roads.

Vargas, who died six months after being diagnosed with having Kaposi’s sarcoma in the lungs, was resigned to his condition and spent much of his final and painful weeks studying the latest developments in astronomy. Up to 2007, over 25,000,000 had died of AIDS and in 2007 an estimated 33,000,000 adults and children were living with HIV/AIDS.

A portion of his cremains were scattered in the Hell’s Kitchen and Times Square neighborhoods of New York City, where he had spent most of his life. Some ashes were deposited behind the walls of the Variety Recording Studio during a time in which a door was being replaced and they were easily inserted. Another portion was saved to be mixed with the cremains of his companion of forty years, Warren Allen Smith, to be buried at the Spencer Smith plot in Waukee, Iowa. The bulk was returned by Smith to Costa Rica, where his cremains are buried in the family tomb next to his father (Elias) and mother (Elena) at San José’s Central Cemetery. In his honor, an Agua Buena support group was formed in Costa Rica.

Crystallinity and porosity are of central importance for many properties of covalent organic frameworks (COFs), including adsorption, diffusion, and electronic transport. We have developed a new method for strongly enhancing both aspects through the introduction of a modulating agent in the synthesis. This modulator competes with one of the building blocks during the solvothermal COF growth, resulting in highly crystalline frameworks with greatly increased domain sizes reaching several hundreds of nanometers. The obtained materials feature fully accessible pores with an internal surface area of over 2000 m2 g–1. Compositional analysis via NMR spectroscopy revealed that the COF-5 structure can form over a wide range of boronic acid-to-catechol ratios, thus producing frameworks with compositions ranging from highly boronic acid-deficient to networks with catechol voids. Visualization of an −SH-functionalized modulating agent via iridium staining revealed that the COF domains are terminated by the modulator. Using functionalized modulators, this synthetic approach thus also provides a new and facile method for the external surface functionalization of COF domains, providing accessible sites for post-synthetic modification reactions. We demonstrate the feasibility of this concept by covalently attaching fluorescent dyes and hydrophilic polymers to the COF surface. We anticipate that the realization of highly crystalline COFs with the option of additional surface functionality will render the modulation concept beneficial for a range of applications, including gas separations, catalysis, and optoelectronics.

pubs.acs.org/doi/abs/10.1021/jacs.5b10708

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

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.

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

amorphica.com/networked.html

www.facebook.com/amorphica

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

Instructors:

Monika Wittig [ LaN, IaaC ]

Shane Salisbury [ LaN, IaaC ]

Filippo Moroni [ SOLIDO, Politecnico di Milano ]

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

Aaron Gutiérrez Cortes [ Amorphica ]

TNS 400 serie Servo Motor is designed to meet almost all basic light duty requirements of various commercial sewing machines, including lockstitch sewing machines, overlock sewing machines and interlock sewing machines. It utilizes Ferrite permanent magnets.The motor produces almost no noise, saves energy (60-80%) and is brushless, speed djustable and durable. It provides a high starting torque even at low speed or from a complete stop. By using a modern technologically advanced microprocessor,Hall sensor and Pulse-Width Modulation technology,the TNS400 series motor can be set to rotate at different maximum speeds, in either normal or reverse directions, and can start with different accelerating speeds. It will stop automatically with any interruption such as in-line voltage, electrical surge, radio frequency interference or overloading. It is fully protected by the software and will give error messages indicating which problem is encountered. It even works well in environments with an unstable electrical power supply.

Features:

Features & Settings:

1.Motor rotating direction setting

2.Slow starting speed

3.Maximum speed setting

Supplied with:

1.Instruction manual / parts list

2.Mounting hardware

3.Pulley cover (belt guard)

4.65mm pulley

5.Push-button on/off wire harness

Specification:

1.110V Singe Phase

2.Cycles: 50/60

3.Variable Speed to 5000 RPM

4.Power: Up to 1000W

Application:

All kinds of lockstitch sewing machines, overlock sewing machines and interlock sewing machines.

www.tnservomotor.com

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.”

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

amorphica.com/networked.html

www.facebook.com/amorphica

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

Instructors:

Monika Wittig [ LaN, IaaC ]

Shane Salisbury [ LaN, IaaC ]

Filippo Moroni [ SOLIDO, Politecnico di Milano ]

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

Aaron Gutiérrez Cortes [ Amorphica ]

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

www.elexbio.com/dnp-medica-culture-dish-media.html

28th February 2015 at Half Moon, Putney, London SW5.

Effects Pedals modify the sound of a musical instrument such as an Electric Guitar by means of changes like distortion, modulation, and feedback. They are often found on the floor on a pedalboard, and are operated with the feet.

The photo includes (top to bottom): Boss Chromatic Tuner TU-2, Boss Delay DM-3 (a 1980s analog delay pedal), Durham Electronics Zia Drive (an overdrive pedal, which distorts the wave form of the audio signal) and Danelectro Tuna Melt (a tremelo pedal).

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

amorphica.com/networked.html

www.facebook.com/amorphica

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

Instructors:

Monika Wittig [ LaN, IaaC ]

Shane Salisbury [ LaN, IaaC ]

Filippo Moroni [ SOLIDO, Politecnico di Milano ]

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

Aaron Gutiérrez Cortes [ Amorphica ]

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

Over 262 compounds have been obtained so far from the plants of Paeoniaceae. These include monoterpenoid glucosides, flavonoids, tannins, stilbenes, triterpenoids and steroids, paeonols, and phenols. Biological Activities include Antioxidant, Antitumor, Antipathogenic, Immune-System-Modulation Activities,Cardiovascular-System-Protective Activities and Central-Nervous-System Activities.

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.

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.

www.customanalogpedals.com/orange-juice-drive/

I've not found the correct 9 volt battery for this yet, but it does play when I apply 9 volts to the terminals.

amorphica.com/networked.html

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 ]

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

amorphica.com/networked.html

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 ]

amorphica.com/networked.html

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 ]

Well do we have news for you… (:-D

Resulting from my bro, Maxsimus, latest visit to Singapore this week and the photo shoot we set up during his stay, we decided jointly to look into PP.. issues and take matters seriously... (:D into our own hands “so to speak” and create our very own processing approach that we have named : “Hallucinogeneric”.

Based on the saturation of lens “Aperture Mode Locking” AML and the self-amplitude “Time modulation coefficient” or TMC, Our work deals with the saturation of the lens Aperture mode locking mechanism. A quantitative description of TMC and the self-amplitude modulation effect in a laser cavity can be derived. Considering both the nonlinear and geometrical (curvature vector or CV) differences between lenses and camera sensors (full frame or not) we concluded that the “CV” differential relationship between cameras and lenses results in nonlinear light modulation.

The loss of the “Light Pulse Conformation Strength” or (LPCS) in a cavity due to “bleaching or excess or lack of light” creates a “Fast Saturation Absorbency” or FSA behavior of any type of camera and lens combination all together. The “Intracavity Aperture Factor” or IAF specific to a given lens type produces the appearance of “FLICKERING” or image instabilities. Our goal was then to elaborate a formidable yet simple approach that allows the prediction of “FLICKERING” or image instabilities, and develop a post processing technique or method that can be as useful for short pulse laser cavity design in general than it is compared to a mouse pad - mouse relationship.

The obtained “Self-Amplitude Coefficient” or SAC is included within the TMC to which LPCS and FSA are added to give a ray-pulse matrix formalism, and a simple model for the temporal pulse parameters regarding only the self amplitude “Time Modulation Coefficient” or TMC can then be solve via a simple quadratic differential integration (Patent pending).

This new “Hallucinogeneric” model sets a limit for the maximum pulse light energy of a stable solution for a given nonlinear modulation and “Camera Lens Combination” or CLC.

Our “Hallucinogeneric” post processing technique we are certain will soon become the newest and most revolutionary PP faved method yet we are certain. We simply baptized “ this new processing technique Lens Setting Dynamics” or “L.S.D.” (:D allows us not only to take night shots in broad daylight, but also gives us a stunning doubled and colored vision extremely useful for reflective photography. Combined with “ Hallucinogeneric” TM you are bound to see all sorts of colors in all sorts of way.

The above is the second of a series relating to this amazing Field and post-processing breakthrough.

To know more, thank you for sending your questions and donations to Maxsie & I at Wetakecash@ourbankaccount.com or wtc@ourbankaccount.com

D. Maxsie – D. Phil

P.S.: "caution applies as D. may stand for delusional." A. Einstein

Best seen in Large. Thanks.

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/