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Paul Cézanne (/seɪˈzæn/ say-ZAN, UK also /sɪˈzæn/ siz-AN, US also /seɪˈzɑːn/ say-ZAHN;[1][2] French: [pɔl sezan]; Occitan: Pau Cesana; 19 January 1839 – 22 October 1906) was a French Post-Impressionist painter whose work introduced new modes of representation, influenced avant-garde artistic movements of the early 20th century and formed the bridge between late 19th-century Impressionism and early 20th-century Cubism.
While his early works were influenced by Romanticism—such as the murals in the Jas de Bouffan country house—and Realism, Cézanne arrived at a new pictorial language through intense examination of Impressionist forms of expression. He altered conventional approaches to perspective and broke established rules of academic art by emphasizing the underlying structure of objects in a composition and the formal qualities of art. Cézanne strived for a renewal of traditional design methods on the basis of the impressionistic colour space and colour modulation principles.
Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects.[citation needed]
His painting initially provoked incomprehension and ridicule in contemporary art criticism. Until the late 1890s it was mainly fellow artists such as Camille Pissarro and the art dealer and gallery owner Ambroise Vollard who discovered Cézanne's work and were among the first to buy his paintings. In 1895, Vollard opened the first solo exhibition in his Paris gallery, which led to a broader examination of Cézanne's work.[3] Both Henri Matisse and Pablo Picasso are said to have remarked that Cézanne "is the father of us all".
Life and work
Early years and family
The Overture to Tannhäuser: The Artist's Mother and Sister, 1868, Hermitage Museum, St. Petersburg
Paul Cézanne was born on 19 January 1839 at 28 rue de l'Opéra in Aix-en-Provence,[4] the son of the milliner and later banker Louis-Auguste Cézanne (1798–1886),[5] and Anne-Elisabeth-Honorine Aubert (1814–1897),.[6] His parents married on 29 January 1844. He had two younger sisters: Marie, born in 1841, and Rose, June 1854. The Cézannes came from the commune of Saint-Sauveur (Hautes-Alpes, Occitania). On 22 February, he was baptized in the Église de la Madeleine, with his grandmother and uncle Louis as godparents,[4][7][8][9] and became a devout Catholic later in life.[10] His father, a native of Saint-Zacharie (Var),[11] was the co-founder of a banking firm (Banque Cézanne et Cabassol) that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance.[12][n 1]
Spring, 1860, Petit Palais
His mother was "vivacious and romantic, but quick to take offence".[14] It was from her that Cézanne got his conception and vision of life.[14] He also had two sisters, Marie and Rose, with whom he went to a primary school every day.[4][15]
At the age of ten, Cézanne entered the Saint Joseph school in Aix.[16] Classmates were the later sculptor Philippe Solari and Henri Gasquet, father of the writer Joachim Gasquet, who was to publish his book Cézanne in 1921, a testament to the life of the artist. In 1852, Cézanne entered the Collège Bourbon in Aix[17] (now Collège Mignet), where he became friends with Émile Zola, who was in a less advanced class,[12][15] as well as Baptistin Baille—three friends who came to be known as "Les Trois Inséparables" (The Three Inseparables).[18] It was probably the most carefree time of his life as the friends swam and fished on the banks of the Arc. They debated art, read Homer and Virgil and practiced writing their own poems. Cézanne often wrote his verses in Latin. Zola urged him to take poetry more seriously, but Cézanne saw it as just a pastime.[19] He stayed there for six years, though in the last two years he was a day scholar.[20] In 1857, he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk.[21]
At the request of his authoritarian father, who traditionally saw in his son the heir to his bank Cézanne & Cabassol, Paul Cézanne enrolled in the law faculty of the University of Aix-en-Provence in 1859 and attended lectures for the study of jurisprudence. He spent two years with his unloved studies, but increasingly neglected them and preferred to devote himself to drawing exercises and writing poems. From 1859, Cézanne took evening courses at the École de dessin d'Aix-en-Provence, which was housed in the art museum of Aix, the Musée Granet. His teacher was the academic painter Joseph Gibert (1806–1884). In August 1859 he won second prize in the figure studies course there.[22]
His father bought the Jas de Bouffan (House of the Wind) estate that same year. This partly derelict baroque residence of the former provincial governor later became the painter's home and workplace for a long time.[23][24] The building and the old trees in the park of the property were among the artist's favorite subjects. In 1860, Cézanne obtained permission to paint the walls of the drawing room, and created the large-format murals of the four seasons: spring, summer, autumn and winter (today in the Petit Palais in Paris), which Cézanne ironically signed as Ingres, whose works he did not appreciate. The winter picture is additionally dated 1811, alluding to Ingres' painting Jupiter and Thetis, painted at that time and on display in the Musée Granet.[25]
Going against the objections of his banker father, he committed himself to pursue his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time and urged Cézanne to abandon his hesitancy and follow him there. Eventually, his father reconciled with Cézanne and supported his choice of career, on condition that he begin a regular course of study, having given up hope of finding Paul as his successor in the banking business. Cézanne later received an inheritance of 400,000 francs from his father, which rid him of all financial worries.
Wikipedia
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.
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.
CNC milled tree trunk from Linden wood based on a form modeled in 3D. Milled at the HfG Offenbach with the kind assistance of Mr. Wolfgang Heide. Digital image taken at the exhibition "Natur-Struktur" in March-April 2008 in Frankfurt am Main, Germany.
Tuskegee Communications equipment. Tuskegee, Alabama, 12th January 1942 - Staff Sergeant Leonard D. Nelson in charge of the communication section (nearest camera), and Sergeant Robert L. Smith operating a SCR 188 A-field set, checking modulation as Sergeant Nelson talks to cadet pilots who are in the air. ... USA ...
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 ]
Minimoog: 3 oscillators (one LFO assignable), 5 wave forms.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
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 ]
2 RED LFOs and a Proto of the GREEN SEQ (here in black as the green Plexi didnt make it in time...)
all running Temposynchron, the left LFO modulating PWM, the 2nd modulating Filter Cutoff, the Sequencer OSC Frequency (via a Quantizer).
You cant imagine how much fun it is just to step thru the LFO Waveforms and adjust the PhaseShift for the Filter Modulation......
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 ]
Preset controls. For those unfamiliar with 405 line sets, the "Limiter" control is used to limit peak white during periods of electrical interference. This is because with the positive modulation system, peak white is the same polarity as interference pulses. Not limiting the peak white can result in defocussing as the EHT current is increased beyond normal.
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.
Architect : Antonio Bonet
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
This species of Chroococcus was found at the Weep Site, Don Edwards San Francisco Bay National Wildlife Reserve, near Alviso. The Weep Site is a salt marsh seep pond with no direct connection to the Bay. Since Chroococcus is generally found free-floating in the ocean, it is not clear how this dividing cell got to the Weep Site. The photomicrograph was taken 1000x oil immersion Hoffman Modulation Contrast optics, using a Nikon Coolpix P5100 camera.
Ahhh - campus Brutalism! As previously discussed, the tough-looking, severe and opaque concrete-and-masonry designs that popped up all over American campuses in the late 1960s aren't always reducible to the tidiest narrative at hand - that they were intended to armor the institution against its increasingly vocal critics in a time of social ferment. I'm generally not opposed to these readings outright, but they almost always need at least a little modulation. The timeline at Oberlin's Mudd building (with a design secured in 1967) seems pretty close to the mark, but you have to square fears of rebellious students with the way the building is actually described in the marvelous orange period piece that is its dedication volume. While obviously this stresses the college's own view of things, it opens with the architects' own statement, which places the thing squarely in the oft-overlooked comfy-cozy-friendly Brutalist discourse. The goal is to produce an "informal atmosphere" for study, with "organized nooks and crannies," to "fit a variety of moods and feelings." This granola sensibility, strongly reminiscent of Herman Hertzberger, suggests also a likely borrowing from Kahn's view of a building as a "harboring thing."
Sadly, we didn't have time to really explore this one - it seems the modest double-height space is on the piano nobile, and the bridges over the entry (which a critic might read as foreboding archers' redoubts) are meant to shelter the entry while providing honors students with removed study carrels (and what must be lovely views of the quad). The first step in meeting Brutalism head-on is accepting that, for the architects if not the users, the apparent contradiction between severe abstraction and day-glo floppy furniture in which to "rap" about the issues of the day was not a contradiction. These were supposed to be the communal buildings of the future; they were visually abstract and massed according to internal space concepts in order that the open-minded youth of the 1970s would feel at home in them. While it's a commonplace to assume that everybody in fact found them menacing and alienating, I for one always felt more comfortable, as a student, in the nook-and-cranny buildings than the overscaled gable-and-column fests that came later. That's not to say that I think this thing needs to be quite so huddled and dark, or that its monumental glowering presence doesn't perhaps serve (or produce) a certain top-down relationship between institution and user. But the fit is always loose.
Young Professionals recognition, Prix Ars Electronica 2021
The Talking Tesla Coil can play back any audio sequence without pre-processing. For example, it can play human speech or music directly from a smartphone in real time. During playback, the power of the Tesla coil becomes sensually perceptible: visually, it offers an impressive spectacle of colored flashes, and the ozone produced in small quantities can be smelled.
The Tesla coil is a resonant transformer that transforms low voltages in the primary branch up to several thousand volts. This ionizes the surrounding air, causing lightning discharges and expansion of the air. The continuous modulation of the lightning produces sound waves that can be perceived by human hearing.
The artist is keen to get more young people interested in electronics and STEM subjects through his project. He would like to present the Talking Tesla Coil in schools, among other places, to vividly demonstrate what can be done with modern power electronics
Photo: Tom mesic
How to control the intensity of some LEDs in PWM (Pulse Width Modulation).
/*
Fade
This example shows how to fade two LEDs on pin 9 and pin 10
using the analogWrite() function.
The analogWrite() function uses PWM, so if
you want to change the pin you're using, be
sure to use another PWM capable pin. On most
Arduino, the PWM pins are identified with
a "~" sign, like ~3, ~5, ~6, ~9, ~10 and ~11.
This example code is in the public domain.
*/
int led1 = 9; // the PWM pin the LED is attached to
int led2 = 10;
int brightness = 0; // how bright the LED is
int fadeAmount = 5; // how many points to fade the LED by
// the setup routine runs once when you press reset:
void setup() {
// declare pin 9 and 10 to be an output:
pinMode(led1, OUTPUT);
pinMode(led2, OUTPUT);
}
// the loop routine runs over and over again forever:
void loop() {
// set the brightness of pin 9:
analogWrite(led1, brightness);
analogWrite(led2, brightness);
// change the brightness for next time through the loop:
brightness = brightness + fadeAmount;
// reverse the direction of the fading at the ends of the fade:
if (brightness = 255) {
fadeAmount = -fadeAmount;
}
// wait for 30 milliseconds to see the dimming effect
delay(30);
}
'Oscillator Bank', 'Waveform': mad-scientist lingo for unsuspecting musicians back in 1970.
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.
The brakes on this bike are the big story. With 650B wheels this frameset requires over 80mm of brake reach in the back, and there aren't many quality options for that kind of reach - except these brakes. Incredible stopping power, excellent modulation, and they're self contained with cable stops and adjusters. They work well with standard brake levers, too.
This thing is a rim crusher! Awesome brakes, really.
Dub~Step~Arcade Controls
01~ Steps (amount of steps in the tone)
02~ Mod Depth (amount of modulation of the pitch)
03~ LFO - Square or Triangle select for modulation depth
04~ A/D or LFO select for modulation depth
05~ Pitch (manual oscillator pitch setting)
06~ VCA level (volume)
07~ Manual or A/D generator select for VCA
08~ Attack control (how long the A/D gen takes to get to max amount)
09~ Decay (how quickly the A/D voltage drops)
10~ Repeat on /off (A/D generator automatically repeats at the end of each cycle)
11~ FIRE! starts the A/D sequence
12~ LFO speed with flashing indicator
KITS AVAILABLE MAY 2010 FROM
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 ]
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.
Different sources of light on this morning's Arriva 127 bus. The LED destination sign lighting is controlled by Pulse Width Modulation hence its appearance.
This jazz waltz features vocal, saxophone, and flute performances accompanied by a jazz trio.
Vocal - Lee Fitzsimmons * Live Yamaha tenor saxophone (YTS - 21) - Lee Fitzsimmons * Live Gemeinhardt flute - Lee Fitzsimmons
Piano - Lee Fitzsimmons * Acoustic bass - Lee Fitzsimmons * Drum kit and ride cymbals - Lee Fitzsimmons
LYRICS
"Think I'm gonna go sail away, forever and a day. Through the clouds and over the trees, think I'm gonna go sail away.
Gonna get me a big balloon, so I can fly away to the moon. Through the stars on Mercury's tune, gonna get me a big balloon...
Breathe deep the golden air, swirling through our minds. We'll find a solace there, an essence so sublime."
"Maybe we could fly away to Mars, the whole universe is ours. See the light wherever we are, maybe we could fly away to Mars.
Jupiter and Venus, too. That's what I'm really gonna do. Saturn in it's hazy dew, Jupiter and Venus, too...
Breathe deep the golden air, swirling through our minds. We'll find a solace there, an essence so sublime."
The jazz trio sets up a spirited groove; the vocal begins. A soulful tenor saxophone fills the gaps of the vocal melody during the verses. In the chorus, a playful flute plays during the vocal breaks as a clever modulation occurs. After the chorus, the saxophone takes a lively be-bop style ride and is then joined by the flute, so the pair can present a two part harmony that sets the stage for the second verse. The entire form repeats and the song ends on the final note of a brief coda.
The philosophical essence of this tune is the concept of "floatation" as an allegory for the ascent of the kundalini energies up the spinal cord. The planetary chakras of alchemical lore are mentioned in the lyrics as guiding beacons of light that guarantee that the balloon's pilot is never lost. The golden air of the chorus is symbolic of the heliosphere that permeates all of the solar system that lets all of the inhabitants of its golden realms know that they are never alone.
This "essence so sublime" is the true solace of Sol.
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.
An infographic detailing the history of guitar effects, starting all the way back to the 1930s with Rickenbacker’s Vibrola Spanish Guitar and progressing to the present day. Along the way, we’ll see iconic guitar-effect breakthroughs like gain and reverb in the 1940s to 1950s’ effects like fuzz (discovered by accidentally dropping a Fender Bass amp on a rainy street!) and distortion (the fortuitous discovery when Link Wray stabbed a hole in his amp’s speaker). The guitar effects hit their stride in the 1960s with the first transistor-powered guitar pedals, including the first wah-wah pedals and the first octave effect pedal among glorious others. The explosion of effects pedals in the 1970s reverberates today: signal alterations, distortion, modulation, time-based effects, and filter effects. A timeline of all these effects along with the iconic musicians who used what—Bo Diddley’s Trem Trol 800 Tremolo, Jimi Hendrix’s Leslie rotating speaker, the Rolling Stones’ Maestro Fuzz Tone, etc.
Feel free to use this infographic but please give credit with a link to www.songsimian.com. The original infographic, with embed codes, can be found here.
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)
The Pitch-bend & Modulatioon wheels. The minimoog was the first.
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.
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 ]
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 ]
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
Gustav Klimt
Portrait of a lady [1894]
Portrait von Frau Heymann ?
Historical Museum of the City of Vienna
As in the portrait of Marie Breunig it is assumed that Klimt referred to photos as the exactly set light, the texture of the skin and the modulation of the shadow suggest.
Source:
www.klimt.com/en/biography/1891---1898/details-klimt-dame...
Quick Overview
This wireless adapter can be worked with laptops, notebooks and PC desktop computer as well. Just plug and enjoy Internet.
Online at www.ipcaccessories.com/300mbps-usb-wireless-adapter-wifi-...
Product Description
Features:
802.11n/g/b 300M Wireless WiFi USB 2.0 Adapter (Realtek 8191 Chipset).
Complies with IEEE 802.11n(draft), IEEE 802.11g, IEEE 802.11b standards.
Provides USB 2.0/1.1 hight speed interface.
Transmission rate up to 300Mbps.
Supports Ad-Hoc, infrastructure WLAN network, wireless roaming.
Supports Windows 2000, XP 32/64-bit, Vista 32/64-bit, Linux, MAC OS x.
With an external antenna.
Simple configuration and easy to use.
It can be worked with laptops, notebooks and PC desktop computer as well.
Specifications:
Wireless standards: IEEE 802.11n(draft), IEEE 802.11g, IEEE 802.11b standards
Interface: hight speed USB 2.0/1.1
Data rate:
802.11n up to 300M (downlink) and 150M (uplink);
802.11g 54/48/36/24/18/12/9/6 Mbps auto fallback;
802.11b 11/5.5/2/1 Mbps auto fallback.
Frequency range: 2.4GHz ISM
Chipset: Realtek 8191
RF frequency: 2412-2462Mhz (North America); 2412-2472Mhz (Europe); 2412-2484Mhz (Japan)
RF output power: 13-17dBm
Radio channel: 1-14 channels
Range coverage: up to 3 times farther range than 802.11g
Roaming: full mobility and seamless roaming from cell to cell
Modulation: 11n BPSK QPSK 16QAM 64QAM OFDM; 11g BPSK QPSK 16QAM 64QAM OFDM; 11b DQPSK DBPSK DSSS CCK
Data security: 64/128-bit WEP Encryption WPA, WPA-PSK, WPA2-PSK, TKIP/AES
Media access control: CSMA/CA with ACK
LED indicator: link/active (green)
Operating system: Windows 2000, XP 32/64-bit, Vista 32/64-bit, Linux, MAC OS x
Color: black
Antenna length: 11cm
Item size: 7*2.5*1.2cm
Item weight: 22g
Package size: 17.5*11*1.5cm
Package weight: 50g
Package including:
1 * Wireless USB Adapter
1 * Software CD