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§ Eventually, after a long sequence of successive impressions that incessantly compassed into our experiences, the journey is terminated to a dissolution of serenity when we stand confronting the frontage of central sikhara • The incremental aspect in the anthropometrical scale of sikhara is inverse to the decremental determination in the sensational space of our Self • When our expectation was aroused in each step of experiences, we finally can substantiate the salient characteristics of this destination • The architect articulated the modulation of scale and space as cogent mean to stimulate our delectation while enforcing us simultaneously to be aware of our deterioration before affirming them into emancipation at end •
§ The galleries that conjoin to each cardinal axis of the central sikhara project our eyes to elevate from the horizontal line to the finial • The massive form of God proposes incisively an effect to our senses and elicits an emotion to its plastic form that wakes a profound reverberation in us • The ever-diminishing tiers of the curvilinear sikhara assist our eyes to comprehend the finial, and thereby the infinite atmosphere above the sky and the Universe • The formal diminution of its superstructure, by the dimensional depth of its perspective in compliant with the inventive space of the vaporous cloud that oscillates about the finial, reveals the ingenious articulation of the architect in maturating our contemplation with deepest relaxation •
§ Angkor Vat is not an autotelic architecture • The manifestation of the Universe, the objective world of reality, the analogy of God to the subjective realm of Truth in Self, all were simply existed here • A brief tenancy of ego (ahamkara) in the world of human egocentrism in the past, the present, and the future is a mere delusion; only when we can deliberate ourselves from ignorance • Time is a reflexive force of space which contains in all animate beings with ignorance • Only quintessence of our Self-Realisation will terminate time and space of here and there everlastingly •
Crown XLS1000 DriveCore Series Power Amp Description:
Crown's XLS1000 power amplifier is a premiere portable PA system with unmatched performance, technology, and affordability. It includes multiple inputs so you can plug in anything and play anywhere, along with several system setup configurations. This high-performance Crown power amp provides enormous power and flexibility thanks to the integrated DriveCore Technology, PureBand Crossover System and Peakx limiters. Weighing less than 12 pounds, The Crown XLS1000 power amp is much easier to set up and move from show to show.
A Power Amp with Integrated DriveCore Technology Class D amplifiers are notable for extraordinarily high efficiency and being well suited for driving difficult reactive loads such as subwoofers. However, their performance can suffer impaired performance on marginal and unstable AC line supplies. To overcome this obstacle, Crown engineers developed DriveCore Technology—a proprietary hybrid analog-digital integrated circuit (IC) developed with Texas Instruments that drives the "front end" of the Class D output stage. Over 60 years of Crown's design knowledge and experience went into the development of this technology resulting in truly remarkable benefits. The DriveCore Technology incorporated in the Crown XLS1000 power amp provides an extremely wide tolerance with regards to sagging or "dirty" AC line conditions, providing consistent performance without affecting audio quality. This means the Crown power amp will not compromise your performance by fluctuating generator power, or overload from lighting rigs, backline gear, etc.
In addition, DriveCore Technology's patented feedback and PWM modulation circuits enable fast recovery on peak transients, accurate reproduction of low-level detail, and precise tracking of low-frequencies at high power levels for maximum subwoofer output.
Advanced Switched-Mode Power Supply
The advanced power supply in the Crown power amp is highly efficient and optimized for maximum power transfer from the AC line through the Class D output stage to the loudspeakers. A benefit to this is substantial weight reduction when compared to older 60Hz transformer-based power supplies.
PureBand Crossover System
The PureBand Crossover System in the XLS Series adds an enormous amount of flexibility and performance to any system. With this system, the crossover frequency is completely variable allowing the choice of any crossover point between 50Hz and 3kHz on 1/12 octave centers. The use of 4th order Linkwitz-Riley filters provides steep slopes for a seamless transition between high and low drivers. And with four crossover modes to choose from providing the ultimate in flexibility, all of your system needs are covered.
Peakx limiters
Peakx limiters provide the ultimate in performance and protection for your entire system. This advanced algorithm was specifically developed and tuned to work with this amplifier and power-supply to achieve higher SPL will less audible artifacts. This means less distortion, less shutdowns, and maximum safe power delivered to your speakers. The Peakx limiters can be easily turned on or off by channel right from the front panel eliminating the need to be digging around in the back of the dark rack.
Crown XLS1000 DriveCore Series Power Amp Features:
XLS High Performance, Lightweight Class D amp weighs less than 11 lb.
Integrated PureBand Crossover System for better performance and control
Peakx Limiters provide maximum output while protecting your speakers
XLR, 1/4", RCA inputs provide outstanding flexibility
1/4" Inputs can be used as loop-thrus to distribute signal to additional amplifiers Efficient forced-air fans prevent excessive thermal buildup
Electronically balanced XLR inputs; touchproof binding post and Speakon outputs
Precision detented level controls, power switch, power LED, and six LEDs indicate signal, clip and fault for each channel
Three-Year, No-Fault, Fully Transferable Warranty completely protects your investment and guarantees its specifications
SMS303 Tantek Tanrak (9 module Modular FX):
- Comp-Lim2
- Parametric Equaliser
- Enhancer
- Modulation Oscillator
Info:
Mid 1980's Tantek, Tanrak Studio Effects Rack which was available in kit form or ready built. These were bought as kits and put together by an electronics engineer. On the face of it, they're simple analogue effects - a bit old-fashioned, really - but that's the charm of them. They've perfectly useable and immediately accessible, so you'll have great fun fiddling with the settings - try sweeping the EQ frequency, or riding the delay time for on-the-fly munchkinisation, for instance.
Even better, you'll find new ways to patch the modules together. Everything - in, out and sidechain - is accessible from the rear panel (there's a default path from left to right across the rack if you don't want to use patch cords) so you can create LFO-modulated delay effects, frequency-sensitive compression ... you think of it, you can do it.
STEREO COMPRESSOR/LIMITER - A high quality stereo comp/limiter with variable input, slope, attack and release controls, and a switched 'key' input that can link both channels...handy for de-essing, ducking etc. It's pretty much 'invisible' when used as a limiter, only squeezing when the threshold is crossed (depending on the ratio setting). Great for laying vocal tracks, mix thickening, fattening up drums, percussions and bass. In fact, it can make anything sound 'phat' but still retains that important top-end clarity.
MODULATION OSCILLATOR - A CV modulation source whose features include sinewave output, variable duty cycle, key or CV controlled depth, triggerable sweeps and two independently variable outputs. Used with the muli-dealy to create chorus, flanging etc.
Escalinata Ryerson
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
Video here: www.youtube.com/watch?v=XrHkvvtrXhA
The Crazy Looper is a small handmade device that allows you the create real-time noise loops with a fast modulation metallic effect.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
I'd wanted them for a couple of years, and finally I found a local source for PURPLE LED fairy (faerie? feri?? no.) lights, and hooboy was I happy! Yay! Purple LED lights, no shipping! As soon as I got home I strung them up.
But- wait! I know one or two things about semiconductor physics and engineering -- and there's NO SUCH THING as a purple LED! What's going on?!
A photo of a guitar cabinet I own that was taken the day I got it in 2003.
Custom built by VibroWorld:
Not at all what it looks like. This is a sealed 4 x 12" as opposed to the classic Hard Trucker 4 x 12" open back cabinet. The form factor is all manner of groovy and you can get the feeling of playing in front of a stack with half as many speakers which work better anyway in this line array.
Of course seeing the old McIntosh MC 2300 tells you where the inspiration came from, but this pair have actually spent most of their time as an "Entwistle Module" in a bass rig. I split the signal and send the wooly low end to my SVT and then use this with a pedalboard to add distortion, modulation effects and Echoplex to a signal with a little of the bass rolled off. Which is, of course, why it's a sealed cab and using more neutral speakers than Jer's rig did.
What I'd really like to do is add a pair of 15" Bag End cabinets and send the lows to that, as well. And if I was Jack Bruce or someone with a small pack of roadies following me around I would, but even the SVT and this amounts to too much for me to carry without a lot of Advil.
Al Centro DINO CAMPANA non si scherza.. e si spazia anche sul SANITARIO……Donne in primo piano.. ed i Progressi della ONCOLOGIA
Stefano Tamberi
Professore a contratto a titolo gratuito
Scuola di Medicina e Chirurgia
Curriculum Vitae
Nato il 26 giugno 1967, ha conseguito la laurea in Medicina e Chirurgia nel 1992 con 110 e lode presso L'Università di Bologna. Nel 1997 si è specializzato in Oncologia con 70 e lode presso l'Università di Bologna e consegue nel 2001 il dottorato di ricerca in Oncologia Gastrointestinale presso l'Università di Modena e Reggio Emilia. Vincitore dei premi "E.Baroni" e "Evaristo Stefanelli" per la ricerca in oncologia presso l'Università di Bologna negli A.A 1997 e 1998. Dal 2010 è direttore dell'UO di Oncologia dell'Ospedale di Faenza.
Le principali aree di ricerca clinica oncologica sono state nel corso degli anni la patologia oncologica polmonare, gastrointestinale e ginecologica. Membro attivo dei principali gruppi di ricerca nazionali e internazionali di tali ambiti (Gruppo MITO, Gynecologic cancer tergroup, GISCAD etc) è stato principal investigator di numerosi studi internazionali sui tumori dell'ovaio, del polmone e dei tumori del colon.
Ha sviluppato negli ultimi anni un interesse particolare perl'approccio psico-sociale al paziente oncologico con un periodo di visita presso le principali istituzioni del Quebec (Canada) per lo sviluppo di un processo organizzativo di cure oncologiche centrate sul paziente. Ha sviluppato progetti di supporto clinico psiconcologico a pazienti affette da carcinoma mammario operato con l'istituzione di supporto psicologico di gruppo e la consulenza psicologica prevista nella quotidiana attività clinica. Tali progetti pilota sono stai presentati nell'ambito del progetto "Empatia" della Regione Emilia Romagna (RER). Ha partecipato al corso regionale sulla "Health Literacy" tenuto dalla Prof.ssa Rudd (Harvard - Boston) e ha sviluppato progetti innovativi di comunicazione nel personale medico e infermieristico da lui diretto.
Alcune sue Pubblicazioni
1. Carboplatin, Fluorouracil and L-Folinic Acid in the treatment of Advanced Squamous Cell Carcinoma of the Head and Neck (SCCHN) . Guaraldi M., Martoni A., Morelli F., Panetta A., Tamberi S., Pannuti F. Annals of Oncology 5 (suppl.8):123,1994
2. A phase I-II study on 5-day 5-Fluorouracil continuous infusion with levo-Folinic Acid modulation in advanced colo-rectal cancer. Martoni A., Angelelli B., Panetta A., Tamberi S., Pannuti F. Proceedings of the "XVI International Cancer Congress". New Delhi 30 ottobre-5 novembre 1994
3. Combined chemo-immuno-ormonotherapy of advanced renal cell carcinoma. Panetta A., Martoni A., Guaraldi M., Tamberi S., Casadio M., Lelli G., Pannuti F. Journal of Chemotherapy 6:5,349-353, 1994
4. Prevalenza e caratteristiche morfologiche di lesioni polipoidi del tratto digestivo superiore nella poliposi adenomatosa familiare. Santucci R., Volpe L., Calabrese C., Poggi B., Di Febo G., Tamberi S., Biasco G. "I Tumori gastrici. Bilanci e prospettive" Roma 9-11 novembre 1995
5. Terapia cronomodulata dei tumori solidi. Biasco G., Brandi G., Tamberi S. G.Biasco. "Trials clinici in oncologia". Bologna, 1995
6. Abnormal mucosal cell proliferation as a biomarker of gastrointestinal cancer: methodological issues and clinical applications Biasco G., G.M.Paganelli, U.Zannoni, G.Brandi, R.Santucci, M.Renga, P.Mordenti, S.Tamberi, L.Barbara. Journal of tumor marker oncology vol.10 ,2, pag.89, 1995
First successful test of an improvement to the PWM synthesis code that allows user-defined envelope shapes. This one is a computed exponential decay, similar to a stringed instrument being plucked. The resolution is only 8 bits, but the result looks OK.
Features:
- Bluetooth 3.0 interface with AIROHA AB1108 as main control chip
- WIDCOMM BTW Bluetooth technology which is officially approved by Microsoft
- Stylish protective PU leather case designed for iPad Mini with display stand for easy viewing
- Light weight,quiet keystroke,dust proof and spill-proof
- Energy saving keyboard with sleep mode
Specifications:
- Executive standard:Bluetooth V3.0
- Working distance:10 meters
- Modulation system:FHSS 2.4G
- Transmitting power:Class 2
- Operating voltage:3.0-5.0
- Working current:<4.0MA
- Standby current:≤1MA
- Sleeping current :<200UA
- Charging current :≥100MA
- Standby time:60days
- Uninterrupted working time:30 hours
- Charging time:4-4.5 hours
- Lithium polymer batter Capacity:330MAH
- Lithium polymer batter life:3 years
- Lithium polymer batter Specifications:40*15*50mm
- Key strength 80±10g
- Key life:5 millon
- Operating temperature:-20℃~+55℃
- Storage temperature:-40℃~+70℃
- Humidity:20%-50%
Packing Contents:
1 x Leather Case w/Keyboard
1 x USB Power Charging Cable
1 x Bluetooth keyboard manual
www.casesinthebox.com/leather-protective-case-with-wirele...
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
Specification
Coach Model MAN 18.350 HOCL/R
Chassis Length 11,850 mm
Chassis Width 2,526 mm
GVW 18,200 kg
Engine Type
Vertical, Water Cooled 6-cylinder 4-stroke Diesel Engine
With Common Rail Injection,
Exhaust Turbocharger and Intercooler
ECR, Replaceable Cylinders Liners
Engine Model MAN D2066 LUH13 Euro 4
Displacement 10,518 c.c
Maximum Output 257 kW (350 hp) @ 1,700 rpm
Maximum Torque 1,750 Nm @ 1,000-1,400 rpm
Bore 120 mm
Stroke 155 mm
Fuel Capacity 300 dm³
Transmission ZF 6S 1900 BO 6-speed Synchromesh Manual Transmission
ZF 6 HP 504C 6-speed Automatic Transmission
Voith D864.5 4-speed Automatic Transmission
Drive Axle MAN HY-1336-B
Suspension Capacity 13,000 kg
Front Axle MAN V9-82 SL
Suspension Capacity 8,200 kg
Brake
Dual Circuit Air Brake System to ADR Directives by Wabco
Front and Rear Axle Disc Brakes
Electronic brake system EBS (ABS, TCS)
Auxiliary Brake Manual Transmission: Engine Brake Valve (EBV)
Automatic Transmission: Integrated Retarder and
Water Cooled with Electric Pressure Modulation
Suspension
Air suspension with 6 identical rolling seals
With Integrated Elastic Stroke Limiter
Electronically Controlled Constant Entrance Height
Suspension Characteristics Under All Load Conditions
Front Suspension 2 x Air Bellows
2 x Shock Absorbers
1 x Level Control Values
1 x Stabilizers
Rear Suspension 4 x Air Bellows
4 x Shock Absorbers
2 x Level Control Values
1 x Stabilizers
Jamis DXT Dual Sport Bicycles ON/OFF road hybrids: What are they? This is a hybrid with a mountain bike position but with road wheel 29” 700c wheels that are a bit wider then road hybrids so they are great for all round use: roads, dirt roads, a bit of mud as well. You can put wider tires with bigger tread as well if you want to go hard core off roading. They also have suspension forks and mountain bike gears so they are like a light weight fast mountain bike.
The dual-sport DXT’s are pumped-up, go-anywhere/do-anything versions of our Allegro fitness bikes. With more gearing range to take on steeper hills and tougher terrain. Wider tires with a trail-capable tread for access to more riding areas, both paved and packed. And disc brakes and suspension forks for real off-road exploration and off-pavement adventure.
Fast Tires: The advantage of large diameter wheels is getting a lot of press these days with all the noise and news about 29’er mountain bikes. We like to think that the DXT is one of the original 29’ers. With big 700c hoops (same as a 29’er) that roll over bumps & holes better than smaller diameter 26” or 27.5” wheels, and with a bigger contact patch for greater traction and control. But in the case of the DXT, with a smaller 40c width & smoother tread that significantly reduces rolling resistance over fatter, knobbier mountain bike tires for faster sailing on streets and paths.
Absolute versatility: Every DXT offers a full complement of eyelets and rack mounts to simplify installation of carriers and fenders. We even include bosses on the underside of the seatstays for installation of a ring lock. Ring locks are tremendously popular in Europe. A simple turn of the key immobilizes the rear wheel and prevents someone from riding off with your bike.
Go Anywhere. Do Anything: The drivetrains on our DXT bikes feature long cage ATB rear derailleurs, full-size triple chainring cranksets and big 11-34 or 32T cassette blocks. This gives you the dual advantage of having high road bike gearing for controlled pedaling at speed on descents and low mountain bike gearing for easier pedaling uphill.
Full Shimano Shift Systems: Fully integrated shifting systems offer the most precise and reliable performance. That’s why every DXT offers Shimano shifters, Shimano front and rear derailleurs, Shimano cranksets and Shimano cassettes.
Awesome brakes: The advantages of disc brakes over rim brakes on a versatile bike like the DXT far exceed their sole disadvantage, weight gain. Besides their incredible power and modulation, they’re just plain safer, especially in the rain. Once rims get wet or muddy, using friction to stop the wheel at its circumference is less efficient than using friction to stop a less wet or muddy small diameter disc near the center of the wheel from rotating. And eliminating the rim from braking surface duties results in a longer lasting wheel
Suspension When you need it, Lock out when you don’t: The advantage of a suspension fork should be intuitively clear: hit a bump and absorb it. Hit a bump and stay in control of your bike. But suspension isn’t always desirable. When riding on smooth pavement or climbing, pedaling energy and power can be absorbed and dissipated by the movement (bobbing) of the fork. Enter lockout. With a flip of a knob on the top of the fork, the fork’s travel can be locked from movement, allowing the bike to be 100% responsive to pedaling input .
Adjustable Cockpit height (stem adjustment): Proper fit on your bike is critical for maximum performance and comfort. That’s why we offer the patented ATS adjustable threadless steering system on the Allegro Elite and Comp models. Whether you want to fine tune your ride and establish the perfect fit, or change it regularly to suit different terrain, with this stem, adjusting your handlebar height is as easy as adjusting your seat post height. You can even adjust it quickly while out on a ride.
2016 DXT Sport $586 WAS $853
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2015 DXT SPORT STEP THROUGH $599 WAS $955
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2015 DXT COMP $817 WAS $1279
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2016 DXT COMP $699 WAS $1069
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2016 DXT ELITE $899 WAS $1459
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2017 DXT SPORT $771
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2017 DXT SPORT FEMME $771
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
www.rbinc-sports.com/jamis-factory-outlet-store/jamis-dxt...
I've not found the correct 9 volt battery for this yet, but it does play when I apply 9 volts to the terminals.
Complete back view of set. Two aerial sockets might seem strange to some, but is quite normal for 405 line sets post 1953. The initial BBC allocations were all Band 1, but when ITV joined the scene, Band 3 was opened up. Multiband aerials were not popular in the UK, possibly because they were seen as a compromise, except for good signal areas, and also that transmitters were not always co-sited.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
int ledPin = 13; // LED connected to digital pin 13int h=1;
int h = 1;
int h2=0;
int h3=0;
int h4=0;
int h5=0;
int h6=0; // direction memory motor 1
int h7=0; // direction memory motor 2
void setup() // run once, when the sketch starts
{
pinMode(4, OUTPUT); // pwm motor 1
pinMode(6, OUTPUT); // pwm motor 2
pinMode(5, OUTPUT); // direction motor 1
pinMode(7, OUTPUT); // direction motor 2
pinMode(13, OUTPUT); // PWM INDICATOR LED
pinMode(2, INPUT); // direction motor 1 - input test switch
pinMode(3, INPUT); // direction motor 2 - input test switch
digitalWrite(4, LOW); // motor 1 off
digitalWrite(6, LOW); // motor 2 off
digitalWrite(5, LOW); // motor 1 direction L - low
digitalWrite(7, LOW); // motor 2 direction L - low
}
void loop() // run over and over again
{
h5 = digitalRead(2); // motor 1 direction
if (h5!=h6)
{
h6=h5;
digitalWrite(4, LOW); // motor 1 pwm low - stop
delay(1000);
digitalWrite(5, h5); //
delay(1000);
}
h5 = digitalRead(3); // motor 2 direction
if (h5!=h7)
{
h7=h5;
digitalWrite(6, LOW); // motor 2 pwm low - stop
delay(1000);
digitalWrite(7, h5); //
delay(1000);
}
digitalWrite(4, HIGH); // motor 1 2 pwm high
digitalWrite(6, HIGH); //
digitalWrite(13, HIGH); //
h5 = analogRead(0); // read the value from the sensor
while(h5>0){
h2 = analogRead(0); // read the value from the sensor
while(h2>0){
h2--;
}
h5--;
}
digitalWrite(4, LOW); // motor 1 2 pwm low
digitalWrite(6, LOW); //
digitalWrite(13, LOW); //
h4 = analogRead(1)*2; // read the value from the sensor
while(h4>0){
h3 = analogRead(1); // read the value from the sensor
while(h3>0){
h3--;
}
h4--;
}
}
Intension - I wanted to capture the beautiful flowers at Franklin park.
referencing reading - freeman states removing the quality of color from an image enhance its other qualities. With the modulation entirely in tone, the eye pays more attention to texture, line, and shape.
edits - converted the image to black and white, added more contrast, increased the yellows/greens. cropped the image.
(L - R) Jason Lowery (graduate student), Elizabeth Sztul (PI), Jahn Wright (graduate student), Paulina Wyrozumska (post-doc), Jay Bhatt (graduate student),
Eunjoo Lee (research assistant).
The Sztul lab "aims to understand how cells deliver proteins to their surface and develop a “virtual” time and space map of the molecular events that regulate protein movement. The ultimate goal of our studies is to provide a detailed molecular understanding of protein traffic as the basis for the development of disease-specific therapies. Currently we are using our expertise in membrane trafficking to address two specific questions: (1) modulation of glucose transporters trafficking independent of insulin and (2) to induce apoptosis of cancer cells by inhibiting ER-Golgi traffic."
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Noto
Book :
Christian Marclay
Shuffle
Aperture
2007
CD :
Random Industries
Selected Random Works
Ritornell
RIT15
Design . Angela Lorenz
'You may play this CD on a random / shuffle position
on your CD player.'
Sebastian Meissner
iMusic :
Cavern Of Anti - Matter
Phase Modulation Shuffle
Duophonic
DUHF38
MGA ...
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Microbiology Test Piece Medi-Ca of DNP Medi·Ca Culture Dish Media
Make food microbiological testing much easier and more effective
Compared with the agar medium, our bacterial culture media plate makes the detection of food microorganisms easier, more standardized, and more efficient, but without pollution.
1. Culture media ready to be used after opening;
2. Colonies easy to see;
3. Reduce the culture area and waste.
Notes
1) The product is used for the microbiological examination of foods and beverages, and cannot be used clinically.
2) Do not open the tectorial membrane before transplanting the sample.
3) Do not use expired products.
4) Do not use products that are damaged, deformed, discolored, dirty, or foreign matters.
5) Do not expose the product to ultraviolet light or sunlight.
6) Do not press the film after the sample liquid is dropped. This will cause the sample solution to overflow to the outside of the culture area.
7) When the sample solution overflows from the culture area, replace it with a new one.
8) If the product enters the eye or mouth, immediately wash it with water and go to the hospital.
9) When using the product, it is susceptible to microbial contamination. Perform specific operations under the guidance of relevant qualified personnel.
10) Please note that the sample or the product that has been in contact with the sample liquid is a contaminated item.
Preservation method
Keep in cold storage (2~8°C), fold it twice at the opening of the bag after breaking, and fix it with tape.
Validity period
The validity period of the product is written on the aluminum bag and the upper part of the product (the date described after "EXP" is the validity period). Please use the aluminum bag within 3 months after opening.
Abandonment method
The product has a risk of secondary pollution after use. Therefore, after proper sterilization, it should be disposed of according to the waste standards of the respective samples and related facilities.
Guarantee responsibility
When the product defect is obvious, replace the corresponding quantity with the new product. The judgment and application of the inspection results are the user’s responsibility, and the manufacturing company and the agent of the product are exempt from liability.
Quantity per carton
Medi-Ca AC and Medi-Ca CC: 1000 sheets
Medi-Ca EC and Medi-Ca SA: 500 sheets
Performance Characteristics of DNP Medi·Ca Culture Dish Media
Medium ready to be used after opening
The product does not require pre-modulation and autoclaving, just check it. No need for mixed release. Double layer coverage is easy to operate which will improve working efficiency.
Colonies easy to see
Due to the use of the color former, the colonies are clearly visible and easy to discriminate. It is beneficial to improve the working efficiency of counting bacteria and working standardization. In addition, since Medi-Ca AC is a bacillus, it is one of the characteristics that the coloring penetration is relatively small.
Reduce the culture area and waste
Compared with the culture dish, it can be reduced to about 1/15~1/20, which can reduce the storage space and the waste after use.
Variety introduction
The Culture Media Plate Medi-Ca is not considered for personal visual differences but produced according to the coloring universal design that most people can easily see, and is also certified by the NPO corporate coloring general design agency.
Usage Method of DNP Medi·Ca Culture Dish Media
1. Sample liquid preparation
Add appropriate sterile dilutions to the sample and homogenize with a homogenizer.
2.Pipetting into the culture area
3.Culture
Put into the incubator, the product can overlap up to 25 pieces.
4．Judgment
SA uses chromogenic enzymes to easily determine and count bacteria.
When the bacteria number is large, please perform statistics in the grid on the film (1cm × 1cm).
Multiply the bacteria number in a grid by the total grids number
5. Fishing for colonies which can be re-cultured
Remove the bacteria by opening the membrane.
Colony Count System
By using the colony counting system (dedicated scanner and application), high-resolution images can be analyzed, and automatic counting and inspection result image storage management can be realized in a short time, which can improve the counting efficiency.
Tear off the foil pouch and remove the required amount.
Medium TypeCulture temperatureCulture time
Media-Ca AC
(Measurement of general bacteria amount)35 ± 1 ℃48±2 hours
Media-Ca CC
(Measurement of Coliforms)35 ± 1 ℃24±1 hours
Media-Ca EC
(Measurement of Escherichia coli and Coliforms)35 ± 1 ℃24±1 hours
Media-Ca SA
(Measurement of Staphylococcus)35 ± 1 ℃24±1 hours
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
Edificio: Centro de Estudios Hidrográficos (vista interior de la cubierta)
Arquitecto: Miguel Fisac
Año: 1960
Lugar: Madrid
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.
Taken of the 1st Year Radio project showing the components of an AM radio, has not been altered in any way.
Xung PWM là cụm từ viết tắt của Pulse Width Modulation, giải nghĩa hiểu đơn giản thì xung PWM là một loại tín hiệu được ứng dụng trong vật lý để điều chỉnh điện áp tải ra của các thiết bị điện tử, thiết bị điện dựa trên sự thay đổi về độ rộng của chuỗi xung vuông, điều này dẫn đến sự thay đổi điện áp ra.
Các PWM khi biến đổi sẽ có cùng 1 tần số và khác nhau về độ rộng của sườn dương hay sườn âm.
👉Tham khảo thêm bài viết sau đây để rõ hơn.
shadow.vn/pwm-la-gi-va-anh-huong-den-den-pin-nhu-the-nao
SHADOW Việt Nam - Chuyên cung cấp đèn pin cao cấp, đèn pin nhập khẩu chính hãng
Add: Số 51A Phan Kế Bính, phường Cống Vị, quận Ba Đình, Hà Nội
SĐT: 0934883366
TIN: 0108618521
--------------------------------
Các trang mạng xã hội khác của Shadow Việt Nam:
dribbble.com/shots/19683553-Xung-PWM-l-g-r-ng-xung-nh-h-n...
linkhay.com/blog/390918/xung-pwm-la-gi-do-rong-xung-anh-h...
The title “Unitxt” could be read as “unit extended” referring to a unit of a rhythmic grid or universal text referring to a universal language, e.g. mathematics: units, constants, measurements, prefix-, SI-system of units and is represented in spoken word and by codes in sound itself.
In collaboration with derivative’s touch designer software the original visuals, which are based on real-time manipulation/modulation of software-generated test patterns, has been expanded to a multi-screen set-up with a highly elaborated visual outfit to form an installation of an almost immersive quality.
This special set-up has been developed for more large scale venues and festivals of high demand. So far it has had presentations at Transmediale Berlin, followed by shows at Mutek Montréal and Sonár Barcelona.
credit: rubra
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.
350 bed dormitory, dining hall, auditorium, shared facilities
195,000 GSF
Completed 2002
2003 National AIA Design Award
2002 New York AIA Design Award
2000 Progressive Architecture Award
From the early years of transistor radio history... this one has 6 whole transistors! They were very expensive in the late 1950's and started getting cheaper in the 1960's.
Luise Rainer was the daughter of Heinrich and Emilie (née Königsberger) Rainer. Luise was born in Düsseldorf, Germany and raised in Hamburg and later in Vienna ,Austria.
Her father was a businessman who settled in Europe after spending most of his childhood in Texas, where he was sent at the age of six as an orphan. (Luise has stated that because of her father, she is an American citizen "by birth".) Luise family was upper-class and Jewish.
She was only six when she decided to become part of the entertainment world, and recalled being inspired by watching a circus act:
At age 16, Luise chose to follow her dream to become an actress; under the pretext of visiting her mother, she travelled to Düsseldorf for a prearranged audition at the Dumont Theater. She later began studying acting with Max Reinhardt, and, by the time she was 18, there was already an "army of critics" who felt that she had unusual talent for a young actress. She soon became a distinguished Berlin stage actress as a member of Reinhardt's Vienna theatre ensemble. Her first stage appearance was at the Dumont Theatre in 1928, followed by other appearances, including Jacques Deval's play 'Mademoiselle', Kingsley's 'Men in White', George Bernard Shaw's 'Saint Joan', 'Measure for Measure', and Pirandello's 'Six Characters in Search of an Author'.
In 1934, after appearing in several German language films, she was seen performing in the play 'Six Characters in Search of an Author' by MGM talent scout Phil Berg, who offered her a three-year contract in Hollywood. He thought she would appeal to the same audience as Swedish MGM star Greta Garbo. Initially, Luise had no interest in films, saying in a 1935 interview: "I never wanted to film. I was only for the theatre. Then I saw 'A Farewell to Arms' and right away I wanted to film. It was so beautiful.
Luise moved to Hollywood in 1935 as a hopeful new star. MGM studio head Louis and story editor Samuel Marx had seen footage of Luise before she came to Hollywood, and both felt she had the looks, charm, and especially a "certain tender vulnerability" that Mayer admired in female stars. Because of her poor command of English, Mayer assigned actress Constance Collier to train her in correct speech and dramatic modulation, and Luises English improved rapidly.
Her first film role in Hollywood was in 'Escapade' (1935), a remake of one of her Austrian films, co-starring William Powell. She received the part after Myrna Loy gave up her role halfway through filming. After seeing the preview, Luise ran out of the cinema displeased with how she appeared, stating: "On the screen, I looked so big and full of face, it was awful. The film generated immense publicity for Luise, who was hailed as "Hollywood's next sensation.
Her next performance was as the real-life character Anna Held in the musical biography 'The Great Ziegfeld', again co-starring William Powell. Powell, who was already impressed by Luise acting skill, had earlier given her equal billing in 'Escapade'. Studio head Mayer did not want her playing the part, seeing it as too small: "You are a star now and can't do it," he insisted. Shortly after shooting began in late 1935, doubts of Luis's ability to pull off the role emerged in the press. She was criticized for not resembling the Polish-born stage performer. The director admitted that the main reason Luise was cast was her eyes, claiming that they "are just as large, just as lustrous, and contain the same tantalizing quality of pseudo naughtiness" the part required.
As Thalberg expected, she successfully expressed the "coquettishness, wide-eyed charm, and vulnerability" required. Luise so impressed audiences with one highly emotional scene, that she received the Academy Award for Best Actress. In one scene, for example, her character is speaking to her ex-husband Florenz Ziegfeld over the telephone, attempting to congratulate him on his new marriage: The camera records her agitation; Ziegfeld hears a voice that hovers between false gaiety and despair; when she hangs up she dissolves into tears.
Luise next film was 'The Good Earth' (1937), in which she co-starred with Paul Muni; she had been picked as the most likely choice for the female lead in September 1935. The role, however, was completely the opposite of her Anna Held character, as she was required to portray a humble Chinese peasant subservient to her husband and speaking little during the entire film. Her comparative muteness, was "an astounding tour de force after her hysterically chattering telephone scene in 'The Great Ziegfeld', and contributed to her winning her second Best Actress Oscar.
The award made her the first actress to win two consecutive Oscars, a feat not matched until Katharine Hepburn's two wins thirty years later.
In late 1936, MGM conceived a script called 'Maiden Voyage' especially for Luise. The project was shelved and eventually released as 'Bridal Suite' in 1939, starring Annabella as 'Luise'. Another 1936 unrealised film project that involved Luise was 'Adventure for Three', which would have co-starred William Powell. In 1938, she played Johann Strauss's long-suffering wife Poldi in the successful Oscar-winning MGM musical biopic 'The Great Waltz', her last big hit.
Most critics agreed Luise was "at her most appealing" in 'The Toy Wife'. The final MGM film Luise made was 'Dramatic School'. At the time she was cast in the film, her box office popularity had declined considerably, and she was one of the many well-known stars—along with MGM colleagues Greta Garbo, Joan Crawford, and Norma Shearer, and Katharine Hepburn, Mae West, Fred Astaire, Kay Francis and others—dubbed "Box Office Poison" by the Independent Theatre Owners of America.
Luise refused to be stereotyped or to knuckle under to the studio system, and studio head Mayer was unsympathetic to her demands for serious roles. Furthermore, she began to fight for a higher salary, and was reported as being difficult and temperamental. Thereby, she missed out on several roles, including the female lead in the Edward G. Robinson gangster film 'The Last Gangster' (1937), losing out to another Viennese actress, Rose Stradner. Speaking of Mayer decades later, Luise recalled, "He said, 'We made you and we are going to destroy you.' Well, he tried his best." Luise made her final film appearance for MGM in 1938 and abandoned the film industry.
She travelled to Europe, where she helped get aid to children who were victims of the Spanish Civil War. Nevertheless, she was not released from her contract and, by 1940, she was still bound to make one more film for the studio. Disenchanted with Hollywood, where she later said it was impossible to have an intellectual conversation, she moved to New York City in 1940 to live with playwright Clifford Odets, whom she had married in 1937. Luise had never made it a secret that she felt terrible as Odets' wife. She filed for divorce in mid-1938, but proceedings were delayed "to next October" when Odets went to England. The divorce was finalized on May 14, 1940.
While in Europe, Luise studied medicine and explained she loved being accepted as "just another student", rather than as a screen actress. She returned to the stage and made her first appearance at the Palace Theatre, Manchester, on May 1, 1939, as Françoise in Jacques Deval's play 'Behold the Bride'; she played the same part in her London debut at the Shaftsbury Theatre on May 23, 1939. Returning to America, she played the leading part in George Bernard Shaw's 'Saint Joan' on March 10, 1940, at the Belasco Theatre in Washington, D.C. under the direction of German emigrant director Erwin Piscator. She made her first appearance on the New York stage at the Music Box Theatre in May 1942 as Miss Thing in J. M. Barrie's 'A Kiss for Cinderella.
She made an appearance in 'Hostages' in 1943 and abandoned film making in 1944 after marrying publisher Robert Knittel. Luise took her oath of allegiance to the United States in the 1940s, but she and Knittel lived in the UK and Switzerland for most of their marriage. Robert Knittel died in 1989. Luise resided in Eaton Square, London, in an apartment in the same building once inhabited by film star Vivian Leigh, also a two-time Oscar winner. The couple had one daughter, Francesca Knittel, now known as Francesca Knittel-Bowyer.
Luise died on December 30, 2014, in London at the age of 104 from pneumonia. She was two weeks shy of her 105th birthday.
I hadn't actually tried the new amp with pedals until today. I was still getting used to how much I loved it all by itself.
Man, there is nothing like a Marshall Plexi (well, or facsimile thereof) as a stompbox platform.
That Skreddy Hybrid Fuzz Driver feels like it should be built into the head. It works with the existing tone extremely well.
BTW, yes I've been using the Power Scaling. Even set like this, the guitar will start to feed back as soon as I'm not muting the strings.
I've reached a point of comfort with the Zero Point flanger where I like to just leave it on. It's like a tiny little bit of modulation that makes me happy. I mean, I still step on it sometimes for a whoosh of flange-y-ness, but mostly I just leave it idling and screwing up the signal a little.
Just in time for Thanksgiving, I'm really thankful for the sound of this rig. I mean, there's not a lot to it, but it does pretty much everything I want to hear. Although I still need to find a wah that doesn't suck. I'm told those exist.
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 ]
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.