View allAll Photos Tagged modulation
with the little Minimoog plaque peeled-off.
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.
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 ]
Flower
This flower was interesting in color with its mini stars jutting from the center, but I really enjoyed it more when I converted it to black and white. I really wanted to reach over and touch the little stars.
Freeman: 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.
The softness and texture really stood out with this tonal change.
Edits: B/W adjustment: decreased reds/purples/greens, increased yellow/blues. Smart Sharpened, spot healing. CRF: increased whites, slight vignette.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
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 painting originally hung in the Vallombrosians church of Santa Trinita in Florence and since the 16th century it has been recorded as the work of Cimabue, Florence’s most important 13th-century painter who, as well as working in Tuscany, was also present in Rome, Assisi and Bologna.
Seated on a grand, imposing ivory throne, with an articulated architectural form, the Virgin Mary is using her right hand to point to her son, whom she is holding, according to the Byzantine model of the Virgin Hodegetria, i.e. he who shows the way to salvation. Dressed like a philosopher from ancient times, Jesus is blessing and holding a rolled scroll, which is perhaps the scroll of the Law. The clothes worn by Mary and her son feature a precious golden decoration known as damascene, a characteristic of traditional Byzantine painting, which was greatly fashionable in Italian medieval painting. Around them are eight angels with splendid multi-coloured wings, gently raising the throne. What is rather unusual for the iconography of the Virgin and Child enthroned is the depiction, under the throne, of several prophets from the Old Testament (left to right: Jeremiah, Abraham, David and Isaiah) who are holding phylacteries with writings from the Holy Scriptures, alluding to the mysteries of the Incarnation and Virginity of Mary.
The painting stands out for the boldly elegant decorations, also seen on the background, which is finely decorated with geometric motifs engraved into the gold. Although the dates of this work have been the subject of much discussion, there is a tendency to date the Santa Trinita Maestà to the latter part of Cimabue’s career. In this masterpiece, the complex division of space used for the throne, the folds of the clothing, the modulation of chiaroscuro and the good-natured expressions of the Virgin and the angels seem to be affected by the naturalism distinguishing younger artists, such as Duccio di Buoninsegna and, above all, Cimabue’s own pupil, Giotto.
Source: www.uffizi.it/en/artworks/virgin-and-child-enthroned-and-...
Tuskegee Communications equipment. Tuskegee, Alabama, 12th January 1942 - Staff Sergeant Leonard D. Nelson in charge of the communication section (nearest camera), and Sergeant Robert L. Smith operating a SCR 188 A-field set, checking modulation as Sergeant Nelson talks to cadet pilots who are in the air. ... USA ...
So I moulded and casted an improved cockpit from my vac-formed master, cleaned it up, and hey, not bad!
All credit for the electronics and programming work goes to my dad, who is just roughing out the sequencing for the micropython system. He assures me the modulation and frequency can be made a lot smoother, but these tests are just to understand what we're trying to acheive
The brakes on this bike are the big story. With 650B wheels this frameset requires over 80mm of brake reach in the back, and there aren't many quality options for that kind of reach - except these brakes. Incredible stopping power, excellent modulation, and they're self contained with cable stops and adjusters. They work well with standard brake levers, too.
This thing is a rim crusher! Awesome brakes, really.
After almost eighteen years of deceptive silence, Brazen is back with Distance, an ambitious indie-rock epic where melancholic modulations and vocal harmonies intertwine on a soaring instrumental carpet. The eight tracks that make up the album are characterised by refined songwriting, carried by an epic breath that makes each track a journey in its own right. Composed, arranged and recorded remotely between London and Geneva over the course of almost a decade, the album is as musically polished as it is rich in narrative twists. The meticulous care taken in its conception gives it a timeless character that in no way detracts from its emotional intensity.
Minimoog: 3 oscillators (one LFO assignable), 5 wave forms.
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.
it's amazing how the basic mechanism of hard drives hasn't changed, from 1.5GB to 250 GB. i'm sure, however, the modulation and FEC (forward error correction) scheme has evolved tremendously.
photo taken with a tripod, mirror lock-up. shot in raw, converted to jpeg with DPP. sharpening set to zero. tungsten lighting, eyedrop white balance.
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
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 species of Chroococcus was found at the Weep Site, Don Edwards San Francisco Bay National Wildlife Reserve, near Alviso. The Weep Site is a salt marsh seep pond with no direct connection to the Bay. Since Chroococcus is generally found free-floating in the ocean, it is not clear how this dividing cell got to the Weep Site. The photomicrograph was taken 1000x oil immersion Hoffman Modulation Contrast optics, using a Nikon Coolpix P5100 camera.
Various postiions of the minimoog's programming panel: upright.
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.
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
Minimoog key mechanisms - the way to go before membrane-like contacts.
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.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
about 0 to 100% duty cycle, up to 4kW (if used with not included heat-sinks), about 28kHz pulse width modulation frequency (PWM)
Stereo Viewer for all my photos: jongames.com/stereophoto/
“Keep your language. Love its sounds, its modulation, its rhythm. But try to march together with men of different languages, remote from your own, who wish like you for a more just and human world.”
- Hélder Câmara, Spiral Of Violence -
www.goodreads.com/quotes/tag/multiculturalism
Use or illustrate the Golden Triangle in a photograph today. www.todaysposting.com/TPAssignment.php?TP=429
This my version of the Tellun Neural Agonizer, a maxed out version of a reverb unit. It drives and controls 2 reverb tanks, and adds quite a few controls and alternative modulations to the mix. The front panel is from the Bridechamber.
Passage of Her Song
A brush
~ gentle brush
To leave spun-silk these wiry curls,
braided ribbons and
other fancy things,
her hands wove round
a countenance ~ my own
reflected in the glass.
Her own ~ silver now flecked,
the porcelain handle etched mosaic
as the delicate fissures her face and mine.
In the shine
I see her soft and rhythmic stroke
perpetuum,
a movement I to she
whose composition blends and binds to me
Mother,
in my veins
you wrote a rhyme,
verses penned
in the rush of generations
~rush of red-letter days
and lonesome reserve of twilight kisses,
My lyrics sung
on the notes of toil and pride
pinched from time
and tears, honeyed and bittered
A hush
~ hush
To memorize our modulation
as we sing this final round of two,
this melody rising, each in separate measure,
to end upon
my single note,
sustained
and unwavering
jeanne rené 4/05 - 2/12
The Metropolitan Museum of Art, NYC
by navema
Marble bust of Luisa Deti (d. 1557); Rome, Italy (1604)
This portrait of the mother of Pope Clement VIII (Camillo Aldobrandini) was originally intended for the family chapel in Santa Maria sopra Minerva, Italy.
On display in the Kravis Wing, it is the portrait of a woman in her late fifties or early sixties, captured inn a serious and pensive mood. The slightly bowed head, with the artistically draped veil and mantle, suggests a mood of calm and controlled sorrow - a characteristic demeanor for a woman of noble birth. The representation of inner feelings is mastered by the artist through his technical virtuosity, especially evident in the delicate modulation of the face. His portrayal of varying textures, such as the contrast between the rough fabric of the veil and the smooth skin, shows a high level of talent.
Ippolito Buzzi or Buzio (1562–1634), was an Italian sculptor from Viggiù, near Varese, in northernmost Lombardy, a member of a long-established dynasty of painters, sculptors and architects from the town, who passed his mature career in Rome. His personality as a sculptor is somewhat overshadowed by the two kinds of work he is known for: restorations to ancient Roman sculptures, some of them highly improvisatory by modern standards, and sculpture contributed to architectural projects and funeral monuments, where he was one among a team of craftsmen working under the general direction of an architect, like Giacomo Della Porta—in projects for Clement VIII Aldobrandini—, or Flaminio Ponzio—in projects for Paul V Borghese—who would provide the designs from which the work was executed, always in consultation with the patron.
A filamentous alga, three cells of the colonial diatom Melosira, and a Cyanobacterial filament on the left. Cells and chloroplasts are clearly visible inside the cell walls of the alga. Photomicrograph taken with a Coolpix 885 at 3x zoom, using an Olympus microscope equipped with Hoffman Modulation Contrast optics, oil immersion at 1,000x magnification.
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.
12 Interlocking Irregular Hyperboloidal Dodecahedra 360 units
2-fold view.
Following an initial prototype with only a singular unit type which attempted a hexahedral symmetry analog of 30 Dodecahedra, I developed this more nuanced version, which has a different exterior weaving pattern and multiple paper proportions. However, as a constraint, I attempted to use only one pocket type for all of the units. This makes some vertices different than others in terms of the dihedral angles of the surrounding units, but the edges shafts are long enough to accommodate modulation between vertices without appreciable difficulty in most cases. This is constructed via scaffolding so that each dodecahedron represents one edge of a cube. The resulting compound is at the time of writing this, the largest interlocking origami cubic symmetry wireframe compound by unit count that I know of.
Designed by me.
Folded out of Cordenons’ Stardream paper.
Eventide Eclipse has great reverbs, delays and modulation effects.
MC77 compressor by Purple Audio is an 1176 on steroids.
Recording-Studio-Mixing-Gear-Outboard (21)
My 1/35 scale AFV Club Stryker M1126 8X8 infantry combat vehicle is done! Much to my surprise, this kit went together with only a couple minimal fit issues, self induced! I had expected it to be a bit on the iffy side as the kit has been in my stash for many years now, and older kits tend to be less engineered than recent ones, but it turned out to be an enjoyable build.
I decided to to it as a vehicle that has been in the field for a while during the summer, perhaps on maneuvers in a training facility, so the weathering is not that heavy. I did use burnt sienna oils with mineral spirits (my first use of this thinner with oils as I usually use the less odorous Turpenol) to do some of the filtering and dirtying but the majority of the modulation is done using the usual black undercoat with white accent under main color coat method.
I also used a very light coat of Tamiya buff thinned way down and sprayed on at a foot or so from the model to create a light dusty look as well. That especially worked well on the tires, which are vinyl mounted to plastic hubs (really nicely detailed tires I might add). I did do some panel accenting with Tamiya Black Panel Liner around the raised hull elements. I sanded the tire treads to make them look worn which really brought out that detail, in my opinion.
The decals went on quite easily and released from their carrier sheet with little to no time needed, not like the previous couple of kits i have worked on…a very delightful development! I did use the Micro Set and Sol method to embed them, but the vehicle numbers all silvered on me (think I should have used more gloss under them to relieve this issue). I am still ok with that as you can always weather to compensate after the fact. Prior to weathering, everything was clear coated with Testor’s Dull Coat…still my favorite flat coat.
For once I have few criticisms of the kit and am delighted to add it to my ever growing shelf of diverse armor builds. Definitely a fun build!
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 ]
Billy Duffy's web site posted a photo of his old Phase 100 and BF-2 and they had Sharpie marks on 'em showing his settings. I had to take that information to the laboratory for confirmation. Dude. Sounds right to me!
The circles indicate the depth of the modulation. The arrows indicate the width of the sweep. Billy Duffy uses the second to the left, which is shallow modulation depth, but wide sweep.
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
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 ]
So I moulded and casted an improved cockpit from my vac-formed master, cleaned it up, and hey, not bad!
All credit for the electronics and programming work goes to my dad, who is just roughing out the sequencing for the micropython system. He assures me the modulation and frequency can be made a lot smoother, but these tests are just to understand what we're trying to acheive
Chinese Buddhist prayer machine circuit bent by A.S.M.O.
Beech wood case, translucent polycarbonate pannel, LFO modulation with speed, wave shape, depth controls and LED indicator. Pitch control, touch contacts, mashup / distortion switch, loop selector, built in speaker and 1/4 inch jack audio out.
asmo23.wordpress.com/2013/03/30/screaming-buddha-prayer-m...
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Desayunador 2da y Miramar -
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 ]
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: Detail view of the roof on the restaurant, shaped like a conch shell.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0271 Concha.JPG
Record ID: WB2010-0271
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
The Kalimba is an African instrument with a beautiful wooden sounding board; if you hold your thumb near this hole and waggle it as the note is being played, you can sometimes get an eerie vibrating modulation to the sound.
The photograph is a philosophical statement about being and nothingness -- what this picture is "of" does not by itself even exist, but is instead defined by the context of its surroundings. (he says has he clears his throat...)