View allAll Photos Tagged modulation
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.
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.
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.
A variation on sound spectrum visualisation.
I chose that tune ('Lose yourself to dance' / Daft Punk) because its pulse-code modulation creates interesting graphical patterns... i know we've all heard it too much yet... :)
Coded in c++ / OpenGL
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.
Get It From: www.24freepostage.com/
Feather:
Sliver Background Aluminum Faceplate (White Keyboard)
1.The Bluetooth keyboard of ipad is the world's thinnest, and it is just 16.5mm after the merger with ipad. single thickness of Bluetooth keyboard of ipad is only 11mm. The machine weighs just 280 grams, so that it is the world's best carry-on performance Bluetooth keyboard.
2.Maximum Scissor keyboard is designed for ipad, the keyboard pitch to 16.6mm. Chocolate-style keycap's design allows users to experience a more good sense compared to other Bluetooth keyboard. Undoubtedly, the experience of mobile Bluetooth keyboard is the best.
3.Enclosure made of aluminum alloys is used to make the machine more attractive, fashionable, and more integration with ipad native.
4.The Bluetooth keyboard of ipad can be used just by a movement to place ipad on the slot of machine, and is the world's most convenient to use
Description:
Function:
1.Bluetooth 2.0 interface standard
2.Operating Distance to 10 meters.
3.Modulation System:GFSK
4.Lithium Battery Capacity:160mA
5.Uninterrupted Working Time:55hours
6.Operatin Voltage:3.0-5.0V
7.Standby Time:60days
8.Charging Time:4-5hours
Material:Aluminum & Electronic Components
Package:1 x Wireless Keyboard (iPad 2/3 & Support is not include)
1 x USB Power Charger Cable
Compatible:
iPad 2/3 Gen
Heading: 1-2 business day
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.
Zack is a Sound Engineer at Digitracs Studios, located in Fort Wayne, IN. He has expertise in Rock and Hip Hop
The pineal gland, also known as the pineal body, conarium or epiphysis cerebri, is a small endocrinegland in the vertebrate brain. It produces melatonin, a serotonin derived hormone, that affects the modulation of sleep patterns in both seasonal and circadian rhythms. Its shape resembles a tiny...
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.
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 Crumar Spirit was originally designed by Bob Moog (himself), Jim Scott & Tom Rhea and released back in 1983.
Specifications :
Monophonic
Oscillators - 2 VCOs (saw, square, and triangle waveforms); 32' to 4' octave range; sync OSC 2 to OSC 1. White or Pink noise gen.
LFO - MOD-X: triangle & square waves, random, sample & hold, RED NOISE, and OSC B. Can be routed to OSC A, A&B, Pulse Width of osc A, Filter Upper or Lower.
SHAPER-Y: FREE RUN - LFO with wave shaping control from sawtooth to Reverse-sawtooth. RUN - Simple sine wave LFO. KB HOLD & RESET Modes (envelope & filter effects). Shaper Y can be routed to OSC A&B, B, Pulse Width of OSC B, LFO Rate, Lower FIlter.
SHAPE X with Y switch - additional modulation of MOD-X with Shaper-Y.
Filter - 3 filters, 12/24 db (high pass, band pass, overdrive), cutoff, resonance, kbyd track
Effects - Ring Modulator
Keyboard - 37 keys
Memory - None
Control - CV / Gate
Date Produced - 1983
very rare about 250 product
This is a tremolo that we have designed as standard sounding with LFO. Transparent and in sinusodial wave form. Extra led indicates LFO's speed. Not operable with battery.Controls: Depth, Rate--SOLD--
Here we see the tiny Dinoflagellate dancing above the Cyanobacterial filament. Photomicrograph is at 1,000x magnification with Hoffman Modulation Contrast optics in an Olympus microscope. Camera is a Nikon Coolpix 885 at 3x zoom. Cyanobacterial filament, Dinoflagellate, and Ciliate came from Heron's Head Park salt marsh, pond site OS1, on San Francisco Bay.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
The easiest way to explain, Marshall JCM In a Box! We used best quality and matched FETs for -Tube to FET- conversion. The pedal also has switchable traditional bright cap on gain control. Finally, The English White is a push-pull clipping overdrive & cabinet simulator w/ advanced bias controls. Controls: Volume, Drive, Bias1, Bias2 Switches: Bright, Cabinet
The easiest way to explain, Marshall JCM In a Box! We used best quality and matched FETs for -Tube to FET- conversion. The pedal also has switchable traditional bright cap on gain control. Finally, The English White is a push-pull clipping overdrive & cabinet simulator w/ advanced bias controls. Controls: Volume, Drive, Bias1, Bias2 Switches: Bright, Cabinet
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/
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
Fujifilm GW690 EBC Fujinon 90mm f/3.5 Provia100F Panasonic PE-36S,f/16 1/60, Setting ISO 125, Light Modulation +1/3,
April 23, 2011
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/
15th October 2020 at Horniman Museum, London SE23.
The Synthesizer is an electronic musical instrument that generates audio signals that may be converted to sound. They were first produced in the 1960s with the Moog Synthesizer.
The Modular Synthesizer consists of seperate sound modules such as oscillators, filters and amplifiers connected together with patch cables or matrix patching systems. They have now been mostly replaced by Keyboard Synthesizers and MIDI-connected gear.
The Moog Synthesizer is a modular synthesizer developed by the American engineer Robert Moog in 1964. R. A. Moog Co. of Buffalo, NY (later known as Moog Music) produced numerous models from 1965 to 1980.
This instrument is a Moog Prodigy, a variable monophonic synthesizer produced by Moog Music from 1979 to 1984. It has two voltage controlled audio oscillators. Left of keyboard are pitch bend and modulation wheels. Above it a control panel which with controls for tune, glide; modulation, filters, loudness, etc.
Synthesizers are assigned the number 5 in the Hornbostel-Sachs classification of musical instruments ( http://en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
5 = Electrophones. Sound is generated by electrical means.
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 ]
12 Interlocking Irregular Hyperboloidal Dodecahedra 360 units
3-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.
Video here: www.youtube.com/watch?v=XrHkvvtrXhA
The Crazy Looper is a small handmade device that allows you the create real-time noise loops with a fast modulation metallic effect.
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.
Frank Durán - CNC / G Code talk.
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 apparently, when you take a picture of yourself, according to the frequency modulation radio, it is called a "Selfie". After further research on the topic, I found out that sometimes people even put a little tic-tac-toe board before the word, but I'm not really sure what that means.
Anyway, I borrowed Hudson's mommy's old mobile cellular smart device and brought it downstairs so I could practice a bit more on taking pictures of myself. Err, I suppose I should say selfie, but I'm just not in the habit yet.
I tried a few times until I got the hang of it. This was much better than that other big machine. After taking a few pictures, I even used the device to send a couple pictures to Santa (and one to a certain really handsome elf in the North Pole. Tee-hee-hee! *Blushing*)
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 ]
The amplifier with elegance. Gracefully refined and dignified.
# Features: A solid state amplifier pre-tuned to sound similar to our ultra high-end Musee acoustic amplifier series.
# Individual input level control with allows each channel to be independently controlled for multi-channel system, or 5.1 channel system.
# Pulse width modulation power supply built with toroidal core transformer for great response to high frequency and current capacity. Power supply keeps steady voltage and provides wider dynamic range.
# Powerful output final stage driven by Pc=100W 1c=10A bipolar power transistor in a single push-pull. This provides a simple and uniformed output sound.
# Blue glass epoxy circuit board for durability, reliability and endurance. 70um thick copper foil is also used for all wiring.
# High density aluminum chassis with real wood ornaments provides the elegant look and the luxury satisfaction as well as the functionality as a heat sink.
# Cooper plate backing.
# Specification: Rated Power: 70W x 4ch (4Ω) (210W x 2ch(4ΩBridged))
# Maximum Output Power: 140W x 4 (4Ω)
# Load Impedance: 2Ω - 8Ω/4Ω - 8Ω(Bridged)
# Input Sensitivity: 0.2-5V (Each channel can be individually controlled)
# Total Harmonic Distortion: 0.01% (1KHz/4Ω)
# Frequency Response: 5Hz - 100kHz (+0,-1.5dB)
# Signal-to-Noise Ratio: 100dB (1KHz/IHF-A)
# Standby Time: Short Circuit/Over Voltage/Over Load/Thermal
# Input Voltage: DC12-16V
# Current Consumption: 1.2A (Idle) /40A (Rated Power)
# Dimensions: 431(W ) x210(D) x 55(H)mm
# Weight: 5.0Kg
The layering corresponds to Milankovitch cycle
Graham P. Weedon:
"The 21 000 year (21 ka) precession cycle was detected in all three cases, the 100 ka eccentricity cycle in two cases and the 41 ka obliquity cycle in one. Filtering revealed that the supposed 21 ka sedimentary cycles are grouped into packets of four or five small and large amplitude cycles. The packets reflect the 100 ka modulation of the 21 ka precession cycle. Local disruption of the packaging can be used to locate hiatuses in pelagic strata."
source: jgs.lyellcollection.org/cgi/content/abstract/ 146/1/133
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 ]
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.
Someone really ought to do something about this!
Here, I heterodyne a master clock laser at 657 nm (linewidth perhaps ~1Hz) with a second-order slave laser (that is, master -> slave 1 -> slave 2). The optical interference should have a clean rf beatnote around 318 MHz since there is a double-pass AOM between the lasers.
Look at all that spectral fuzz within 0.5 MHz of the beat! The rf source is a maser-stabilized DDS, so there's no excuse. We've suspected that this higher-power slave laser was wonky, and well, here it is. I realigned the injection today, and it looks a lot better than this photo. Tomorrow we might get some comb time and see if it makes any difference.
Yet another example of perhaps the best lesson out there: when you want to measure something small, fleeting, and buried in noise, take it to high-frequency and somehow arrange to measure frequencies.
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 ]
Video here: www.youtube.com/watch?v=XrHkvvtrXhA
The Crazy Looper is a small handmade device that allows you the create real-time noise loops with a fast modulation metallic effect.
RCA model 3RA61 "Filteramic" AM radio receiver, c. 1958.
Many people began bringing radio receivers into their homes in the 1920s. By the early 1960s most homes had at least one radio and often more. At that time amplitude modulation, or AM, served as the primary mode of broadcasting, but a newer mode that used frequency modulation, or FM, was becoming increasingly popular. Well-known industrial designer John Vassos created this radio for RCA in the 1950s.
Various positions of the minimoog's programming panel: slightly tilted.
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.
I photographed this figure from an 1895 magazine in my collection.
It depicts an oversized American heliograph - the usual mirrors were 4.5" square. The "station" mirror variant had 8" mirrors - perhaps this is one of those. The article does mention the fact that the Department of Colorado held the world's record, which was set just one year prior using 8"x8" mirrors to perform two-way Morse Code communication over 183 miles.
The heliograph was used to signal by mirror-reflected sunlight, modulated into the dots and dashes of Morse Code or Myer Code. The American heliograph used a shutter on a second tripod for modulation.
This image is from the article: "Signaling from Long's Peak in Colorado", and appeared on page 167 of Leslie's Weekly Illustrated, Vol LXXXI, No. 2087, September 12, 1895.
Here are some excerpts from the story:
"A twinkling star seventy miles away in the mountains the other day caught the eyes of Denver people. ... A heliograph in the hands of an expert of the United States Army Signal Corps was responsible for the flash that came from the mountains. On the top of the Equitable building in Denver, Captain William A. Glassford, chief signal officer of the Department of the Colorado, and his men received the intelligence. It came in dots and dashes, in the Morse code, and was as easily interpreted as the click of the telegraph. Messages were sent from Denver to the party on Long's Peak, and when "30" was flashed, the operators folded their instruments and started for a toilsome climb to the summit of Gray's Peak, where the next experiments were to be made.
...
The heliographing outfit consists of a mirror, a "shutter," a telescope and a field-glass. The mirror and "shutter" are each mounted on tripods for convenience. When it is desired to communicate with a party in any specified locality the mirror is set so as to throw a reflection on the spot where the answering party is supposed to be located. By sweeping the horizon the answering flash indicates when the mirror is correctly set. The opening and closing of the shutter in front of the mirror gives the effect of dots and dashes and enables the second party to receive the message. At ordinary distances the telescope is not found necessary.
The world's record in long-distance signaling is held by the Department of the Colorado. ...."
I make no copyright claim to this - you are free to use it as your laws allow. As an image published prior to January 1, 1923, it should be in the public domain in the USA, but rights determination is your responsibility. In the event that it turns out that my action entitles me to copyright, I release it to the public domain, as indicated by the Flickr CC0 copyright marking.
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