View allAll Photos Tagged modulation
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 ]
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...)
Sarah Perkins | Springfield MO
"Austere Lemon Bowl" (2009)
copper, enamel
As a maker of hollowware, I use properties of the metal: the plasticity, the permanence and the dimensionality. As an enameler, I use properties of the glass: the preciousness, the surface qualities and the color. In my work these properties function together to make a whole, with the two materials complementing and completing each other, rather than one being visually more important than the other.
My work reflects my emotional response to my environment, often referring to landscape, body part or natural object. Some of the forms are based directly on plants, fruits, rock formations and other natural objects. The colors and enamel imagery are derived from natural objects as well because I find the natural modulations of color, texture and surface very appealing and very intimate.
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 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 ]
One filament of the Cyanobacterium Anabaena, from a Vernal Pool in the Warm Springs area of the Don Edwards San Francisco Bay National Wildlife Refuge. Salinity was about 7-PPT.
This photomicrograph was taken with a Nikon Coolpix P5100 using Hoffman Modulation Contrast optics with oil immersion at 1,000x magnification.
Anabaena was the dominant organism in the floating microbial mat in the pond, exceeding other microorganisms by a factor of about 300-fold.
Anabaena is a nitrogen fixer. The large cells in the filament are the Heterocysts, which isolate the nitrogen-fixing process from oxygen [oxygen inhibits the nitrogenase enzymes].
The smaller, square-shaped cells carry out photosynthesis, fixing carbon and producing oxygen. This was readily evident by the masses of small bubbles in the floating mat.
Notice the fine "hairs" on the Heterocyst cells. These are some of the other bacilli that inhabit the mat and cluster around the Heterocyst cells, probably for nitrate.
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 ]
This pic shows the VX-7r in service mode.
The PLL REF on the display is the first screen you will get if you enter service mode.
DO NOT ADJUST the Default setting!!
Turn the tuning knob (outer ring on top) one click clockwise or more to change other factory settings to what YOU want, e.g. Higher modulation, higher/lower power on all 4 settings, CTCSS deviation etc etc.
But BE CAREFUL to write down all the default settings BEFORE changing them !
CableFree Diamond
Full Outdoor Microwave Radio supporting XPIC and 2048QAM modulation, advanced ACM and other features up to 2Gbps Capacity.
Up to 1Gbps full duplex with up to 112MHz channel widths supported.
48V DC powered with options for ac 110-250V supply.
Can scale to 2Gbps or more with 4+0 configuration.
Available in many bands including 17, 18, 24, 26GHz
Attempt at showing an image. One problem is that while the fluorescent tube provides a bright white raster, the phosphor persistence turned out to be unsuitable - what you see as brown should be black. The linearity of modulation may also be questionable.
The source of the signal is a wav file from the NBTV organisation who have standardised on 32 lines (convenient for digital dividers). This gives a rolling image when displayed on Baird standard televisors.
Oscillatoria with salt crystals, 1000x Hoffman Modulation Contrast optics. From Heron's Head Salt Marsh.
He was given the nickname "Beardyman" because a name was quickly needed for a flyer for an early show, and he had a beard at the time.As well as accomplished solo beatboxing, Beardyman was inspired by MC Xander to use music technology such as the Korg Kaoss Pad 3 in order to loop and sample his vocals. Through his use of looping tools he effectively produces whole DJ sets where the records are constructed live from his vocalisations, as well as live production of original material.His music frequently contains elements of drum and bass, dubstep, breakbeat, trance, techno and other associated forms of electronic dance music. He also incorporates other forms of music into his live sets, including but not limited to reggae and country music, often purely for the purpose of providing a comedic counterpoint to his beatboxing. Virtually all of his music is created using his only his vocal chords to produce sounds, and incorporating music technology such as vocoders and software synthesis to alter the pitch of his voice, or to add various kinds of audio effects such as delays, reverbs or modulation effects. In various YouTube videos various pieces of electronic equipment can be spotted, notably the Korg Kaossilator Pro, the Kaoss Pad 3 (also known as the KP3), a Korg Wavedrum, a microKORG, a Boss GT-8 and a Boss RC-50.As of 2012 he has foregone the usage of Kaoss Pads in favour of proprietary software he has been developing, currently known as the Beardytron 5000 MkII. "Over the past 3 years I have worked tirelessly on the system, overseeing its development and testing, improving and configuring it. I had no choice really, as the shows I want to do are simply not possible using any existing off the shelf gear, existing software or even cobbled together patches using freeware. The system is essentially my life's work and will continue to be what i use for all my future endeavours. The Beardytron 5000 mkII is a work in progress and at some point you'll be able to buy some form of looper/production-system based on the innovations developed to make my shows possible. We've had to invent new paradigms in interface design to make it possible to control this many parameters at one time and at speed, and that's despite using Turnado which takes care of a large proportion of that using its 'within-preset-morphing'; it still took many vastly different iterations of the looper's interface to find the perfect balance of speed, accuracy and controllability. And as for the looper itself, it can do things no other looper in the world can do, small but vital advances which are fundamental to allowing a complex and dynamic looping based live-production performance possible. The looper/VST-host is designed to operate in perfect harmony with the interface and as I have been using the system, I have developed many macro's within the system which have introduced many efficiency gains over the course of this past summer of gigs. As I refine the presets I use within Turnado and Guitar Rig, each of which is an instrument in itself, the system will get more complex, subtler and faster to use." Beardyman further states: "The system is built from the ground up in C++ and objective C by Dave Gamble of DMGAudio and employs 15 instances and counting of a partly bespoke version of Sugarbytes' incredible linear-8-way-morph-engine controlled multi-effect 'Turnado'. Guitar rig is also used along with Rob Papen's delay. The system is controlled using 2 ipads running bespoke programs using a specially developed high definition, self-reconnecting protocol."In a video posted on YouTube on 24 October 2012 Beardyman further explains the conception and use of his new gear.On 29 November 2012 Beardyman posted a live gig performed in October 2012 in Pune, India, which was the first live gig audio revealed online to solely use the Beardytron 5000 MkII. He has stated that the software for the Beardytron 5000 MkII will be available to purchase by the public sometime in 2014.Early lifeForeman was born to a Jewish family in Stanmore, North London. After studying at Queen Elizabeth's Grammar School for Boys, Barnet, Foreman moved to Brighton in 2001 to study at the University of Sussex. Although he started making noises at the age of three by imitating Michael Winslow from the Police Academy movie series, it was seeing Rahzel perform live that convinced Foreman that beatboxing could sustain a whole show rather than simply provide interludes within the context of a broader presentation. Beardyman’s first musical venture was composing a symphony for his school orchestra at the age of ten. At fifteen, an introduction to drum and bass led to his long-standing obsession with music technology.Beatbox championships and other awardsIn 2006 Beardyman battled to become UK Beatbox Champion and retained his title in 2007 making him the first beatboxer in UK history to win two championships in a row. He was on the 2008 judging panel.CollaboratorsHis interest in exploring new musical technology is also evident in the innovative Battlejam club nights he hosts with 2007 DMC champion turntablist JFB. Here the live looping technology is augmented with live sampling of the audience to make the hook of instantly composed tracks and even live video sampling and scratching.He has gigged and recorded with MC Klumzy Tung as part of MC/beatbox duo The Gobfathers. Together, they presented Get Lucky TV's 'The Freestyle Show” in 2005, and also appeared as traffic wardens in a hidden camera show for E4.In 2008 he collaborated with visual artist mr_hopkinson, to produce a video called 'Monkey Jazz' which visually describes the live looping process, which has had over 1 million views on YouTube. Since then they have worked together to produce various multi-camera videos of Beardyman's performances filmed at the Cube Microplex. Beardyman has also appeared on stage for improvised live shows with mr_hopkinson providing visual backdrops from images instantly searched from the internet in response to audience suggestions.Viral videosBeardyman often incorporates humour into his act. He has impersonated Elvis, dressed as a monkey on stage at Bestival and once posed as an Austrian climate change lecturer, "Professor Bernhard Steinerhoff", before breaking into his set, with over 1 million views on YouTube. He also features in the Funky Sage ring tones in which he plays a floating head who beatboxes and gives good advice. His video "Kitchen Diaries" which features him combining beatboxing with cooking has been viewed more than 4 million times on YouTube. "Kitchen Diaries" also makes an appearance in 'South Coast', a Brighton based documentary about Hip Hop in the UK.
Just put on new BB7 disc brakes. The front has a 185mm rotor and the back is a 160. The Jagwire Hyper cables and housing are incredibly smooth and the power & modulation with these brakes is amazing.
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/
Chroococcus is a unicellular genus of Cyanobacteria often found showing within a sheath 2-, 4-, or 8-cells post division.
Chroococcus species are widely distributed in both fresh and salt water, collectively comprise one of the world's largest biomasses, and are of major importance in oxygen production and carbon dioxide fixation.
Similar appearing fossils have been found in cherts ~2.5-billion years old.
This photomicrograph was taken at 1,000x magnification, oil immersion, with Olympus Hoffman Modulation Contrast optics, using a Coolpix P5100 camera. The sample was from pond site NS-1 in Heron's Head Park salt marsh, San Francisco.