View allAll Photos Tagged modulation
really good stopping power AND modulation. A little finicky to set up, but many other cantis are worse.
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 ]
6th Swiss Design Network Conference 2010 Basel,
Marenko, Betti
Contagious Affectivity. The Management of Emotions in Late Capitalist Design
I am investigating the notion of affect as elaborated by Baruch Spinoza and, drawing from Spinoza, also by Gilles Deleuze and Brian Massumi, who have written extensively about this subject in relation to the constitution of subjectivities. The general framework I am following is given by the critique of current forms of capitalism, which I am inclined to rename semio-chemio-neuro-affective capital. This term underlines the coagulation of different levels of production, reproduction and control concerning regimes of signs, circulation of knowledge and affects, language and desire, the chemical and neurological composition of subjectivities and so on.
I see here a progression from my previous work on how the production of subjectivities within a biopolitical/affective framework is mediated by psychopharmaceutical technologies (Marenko 2009a) and on the emotional entanglement that characterizes our relationship with objects, which I have reframed within a neo-animist paradigm (Marenko 2009b). I argue that we cannot look at design without first addressing how emotion itself is being designed as labour within the current new spirit of capitalism.
In this sense the increasing emphasis on emotion in design reflects and reinforces what is currently at the core of late capitalism, that is, the shift to affect, knowledge, information and experience, what Italian Marxist theorists (Maurizio Lazzarato, Christian Marazzi, Antonio Negri, Paolo Virno) define as immaterial labour. Against this backdrop I refer to Eva Illouz’s notion of emotional capitalism and Bernard Stiegler’s ideas of psychopower and the capture of attention, as well as to Deleuze’s ideas on modulation and control. My intention in this paper is first to map the territory of what we mean by affect, as distinct from emotion (Deleuze, Massumi). The notion of an affective turn in the social sciences will be addressed (Patricia Clough). Then I will look at the transmission of affect (Teresa Brennan) by invoking an epidemiology paradigm (Gabriel Tarde) and ideas of social contagion and viral spreading. Finally I will position these ideas in relation to designed objects and the process and practice of design, specifically in relation to what is known as emotion- driven design.
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.
Shot with a Canon FD 50mm f/0.95 on an extension tube using a Fuji APS-C camera at high ISO and an electronic shutter. The lens isn’t particularly sharp even by vintage fast 50mm standards and the depth of field is razor-thin as is this XXF nib.
The stripes in the bokeh balls appear because the LEDs are dimmed with Pulse Width Modulation (PWM), meaning they are constantly flickering on and off. With an electronic rolling shutter, the camera reads the image line by line and each line lands at a different moment in that PWM cycle, some when the LED is bright and others when it is off, which creates banding and broken bokeh especially at very fast shutter speeds when the camera cannot average the flicker.
Inside the bokeh balls you can also see tiny fine lines which come from the high-frequency PWM pattern itself, stretched across the blurred highlight. The larger, thicker black bands come from the overall rolling shutter readout timing, where whole rows are captured during a darker part of the PWM cycle. Switching to a mechanical shutter usually avoids this because it effectively averages the flicker over the exposure, so PWM artefacts are mostly smoothed out.
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 ]
Complex oscillator based on two sine waves that are each distinctly "warped" by either wavetable data or unpredictable volatile memory information; the results are then morphed between one another for your output timbre. Includes a dedicated modulation oscillator. Pitch can be controlled via internal bus in 200e systems with a 225e MIDI/Preset Manager.
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.
Unit: Morbiokalk (limestone), Lias
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
Chinese Buddhist prayer machine circuit bent by A.S.M.O.
Beech wood case, translucent polycarbonate pannel, LFO modulation with speed, wave shape, depth controls and LED indicator. Pitch control, touch contacts, mashup / distortion switch, loop selector, built in speaker and 1/4 inch jack audio out.
asmo23.wordpress.com/2013/03/30/screaming-buddha-prayer-m...
Installed the NS-2 noise suppressor with a clean signal coming from the TU-2 tuner pedal. The send/return cover the dirt and modulation section after which it routes to the DD-5 delay.
The modulation section now also has the FX600 by Behringer mostly for tremolo and pitch-shift functionality.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
So I moulded and casted an improved cockpit from my vac-formed master, cleaned it up, and hey, not bad!
All credit for the electronics and programming work goes to my dad, who is just roughing out the sequencing for the micropython system. He assures me the modulation and frequency can be made a lot smoother, but these tests are just to understand what we're trying to acheive
Caught in the middle of an recording and the programming :)
Music :
soundcloud.com/nightbirds-electronic
soundcloud.com/nightbirds-past-records
Vidéo :
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.
All lit up for the first time! All the instrument lights except for the Dynon D180 and the AP74 autopilot control are on one dimmer pot and switch. They balance out quite well after I added dropping resistors to individual lights. The Dynon can be set up to automatically dim its screen when the cockpit is dark...a function of the AP74. Dynon says that the autodim feature can control other panel lights using a pulse width modulation signal, but they didn't provide any documentation for it in the manual.
SONY 61 INCH REAR PROJECTION TV
CLICK THIS LINK TO SEE ALL OUR INVENTORY www.flickr.com/photos/53089149@N02
YOU CAN USE THE SEARCH FILTER TO FIND WHAT YOUR LOOKING FOR EASILY BY ENTERING SIZE(50 inch), TYPE(plasma, dlp, lcd), OR ANY KEY WORD!
MODEL # KP-61HS30
WORKS GREAT AND IS READY FOR YOUR LIVING ROOM, HOME THEATER OR OFFICE.
Technical Details
Screen Size 61 inch
Aspect Ratio 4:3 • 16:9 Enhanced
Digital TV Standard HDTV
Built-in Tuner NTSC
Weight 211 lb.
Display Capabilities
Broadcast Format Supported 1080i (HDTV) • 480p (EDTV) • 480i (SDTV)
Digital TV Standard HDTV - HDTV receiver is integrated.
Remote Control
Remote Control Standard
Image Quality
Comb Filter 3DYC / 3D Digital
Velocity Scan Modulation With VSM
Adjustable Color Temp. With Adjustable Color Temperature
Audio Features
Audio Type Virtual Surround
Audio Output Variable / Fixed
MTS Stereo SAP / MTS Stereo
Technical Features
Picture in Picture With PIP
Parental Control V-Chip
Sleep Timer With Sleep Timer
Energy Star Compliant Energy Star Compliant
Connectors
Rear Input Connectors S-Video x 2 • Composite x 3
Front Input Connectors S-Video x 1 • Composite x 1
Screen Text
Channel Labels With Channel Labels
Speakers
Number of Speakers 2 Speakers
Speaker Power 2 x 20 Watt
Dimensions
Width 54 in.
Depth 26.25 in.
Height 61.44 in.
Weight 211 lb.
WE ARE LOCATED IN THE CENTER OF THE VALLEY IN MIDVALE, JUST 1 BLOCK FROM I-15. PLEASE CALL OR TEXT IF YOU WOULD LIKE TO SEE TV AT 801-706-2918
Specification:
‧ Tracks up to 32 satellites
‧ Receiver : L1, 1575.42 MHz
‧ C/A code:1.023 MHz
‧ Update rate : 1 HZ.
‧ Antenna type : Built in patch antenna
‧ Minimum signal tracked : -159dBm
‧ Dimension : 67 × 23 × 16 mm.
‧ Weight : 30g.
‧ On/Off switch : slide switcher
‧ Lithium-ion battery lasts for 23 hours of use
‧ Operation temperature : -10 ℃ to + 60 ℃
‧ Store temperature : -20 ℃ to + 60 ℃
‧ Store temperature : -30 ℃ to + 80 ℃ (Without Lithium-ion battery )
‧ Operation humidity : 5% to 95% no condensing
Position:
‧ Non DGPS (Differential GPS)：
‧ Position : 3.0 m CEP without SA
‧ Velocity : 0.1m. / sec2
‧ Time : 0.1 microsecond. sync GPS time
‧ DGPS(RTCM/EGNOS/WAAS/MSAS)：
‧ Position : < 2.2 m., horizontal 95 % of time <　5 m., vertical 95 % of time
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Acquisition Time:
‧ Reacquisition < 0.1 sec. Average
‧ Hot start 1 sec.
‧ Warm start 33 sec
‧ Cold start 36 sec.
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Protocol & Interface:
‧ Compatible with Bluetooth devices with Serial Port Profile (SPP)
‧ Bluetooth version 1.2 compliant
‧ Bluetooth Class 2 operation (up to 10 meters range in open space)
‧ Frequency : 2.400 to 2.480 GHz
‧ Modulation: FHSS / GFSK
‧ RF channels: 79
‧ Input sensitivity: -85dBm
‧ Output level: +2dB
‧ Output terminal: Mini-USB (CMOS Level)
‧ NMEA protocol output : V 3.01
‧ Baud rate : 38400 bps
‧ Data bit : 8
‧ Parity : N
‧ Stop bit : 1
‧ Output format :
Standard : GPGGA (1time/1 sec), GPGSA (1 time/5 sec.), GPGSV (1time /5 sec.), GPRMC (1time /1 sec.), GPVTG (1 time/1 sec).
‧ Optional : GLL, or MTK NMEA Command.
Dynamic Conditions:
‧ Altitude :Max 18,000 m ( 60,000 feet )
‧ Velocity : Max 515 m./sec ( 1000 knots )
‧ Acceleration : Max 4G
‧ Jerk : 20 m/ second3, max.
3 Led Function:
‧ Bluetooth , navigation update and battery/charger status Indication
Chinese Buddhist prayer machine circuit bent by A.S.M.O.
Beech wood case, translucent polycarbonate pannel, LFO modulation with speed, wave shape, depth controls and LED indicator. Pitch control, touch contacts, mashup / distortion switch, loop selector, built in speaker and 1/4 inch jack audio out.
asmo23.wordpress.com/2013/03/30/screaming-buddha-prayer-m...
A simple Darlington Transistor circuit for controlling the speed of a DC Brushless fan (12 volts). Requires a PWM (Pulse Width Modulation) input. I use and Arduino UNO for this PWM input but any Microprocessor can be used. You can even use a 555 or 556 timer circuit.
For the sake of this simple circuit the Darlington Transistor TIP120 can be thought of as a MOSFET transistor.
Desayunador 2da y Miramar -
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
A synthetic vibraphone, synthesised on the Arduino by using the PWM (pulse-width modulation) facility. Same Y scale as the photo of the filtered PWM signal, but a much slower timebase. Fuzziness of the signal is due to residual, un-filtered-out, PWM signal at 31.25kHz.
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.
wakefield, massachusetts
1957
trade show display
from the transitron line of electronic products
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
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
Some color modulation and washes. Still lots of work to do.
The top word is "fascists" - anyone know what the bottom word is?
Passage of Her Song
A brush
~ gentle brush
To leave spun-silk these wiry curls,
braided ribbons and
other fancy things,
her hands wove round
a countenance ~ my own
reflected in the glass.
Her own ~ silver now flecked,
the porcelain handle etched mosaic
as the delicate fissures her face and mine.
In the shine
I see her soft and rhythmic stroke
perpetuum,
a movement I to she
whose composition blends and binds to me
Mother,
in my veins
you wrote a rhyme,
verses penned
in the rush of generations
~rush of red-letter days
and lonesome reserve of twilight kisses,
My lyrics sung
on the notes of toil and pride
pinched from time
and tears, honeyed and bittered
A hush
~ hush
To memorize our modulation
as we sing this final round of two,
this melody rising, each in separate measure,
to end upon
my single note,
sustained
and unwavering
jeanne rené 4/05 - 2/12
One of the most known fountains of Heraklion, point of reference for its inhabitants, but also for the visitors.
Today it is one of the most beautiful monuments of the city situated at the center of the most busy square - Eleftherios Venizelos sq. - of the town
The Venetian General Provisioner of Candia (Crete and Iraklion in Venetian times) Francesco Morosini ordered and supervised its construction in 1628. He managed to bring water from the Archanes' springs to the thirsty town of Heraklion through a complicated - for that period - system of pipelines and channels.
The eight-lobe cistern, which is based on a special stand, is decorated with embossed mythological depictions and maritime figures like tritons, dolphins and various coats of arms, while the water was flowing from the mouths of four lions. At the very top of the fountain there was a supernatural statue of Poseidon that was standing out but fell probably due to an earthquake.
During the Turkish period the fountain went into a vulgar modulation with the addition of a baldachin (ciborium) around it which was later taken away.
Morosini, on the occasion of the inauguration coined a special medal with his figure from one side and the fountain on the other.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
i like that this one has a simplicity that some of the others do not.
the pure black and greyish base make the colours pop more than on the other images which are more beige/brown and blue/black base.
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 ]
O TL-WR741ND é um combinado com fio / dispositivo de conexão de rede sem fio integrado com Internet-sharing Router and 4-port Switch. O Lite roteador Wireless-N é 802.11b & g compatÃveis com base na tecnologia 802.11n e dá-lhe 802.11n desempenho de até 150Mbps, a um preço ainda mais acessÃvel. LimÃtrofe de 11n e superando 11g de alta velocidade permite aplicações que consomem largura de banda como streaming de vÃdeo a ser mais fluida. Você pode desfrutar de uma experiência de alta qualidade em streaming de vÃdeo, VoIP, jogos on-line ou sem fios, com produtos tradicionais g nunca foi muito prático, de qualquer lugar em sua casa inteira. Passo para a idade 11n com Lite Wireless N!
Ao trabalhar com dispositivos IEEE802.11n, o router fornece conexões robusto e estável, mesmo em longas distâncias a partir do roteador ou obstáculos existentes no caminho em que normalmente 11G produtos seriam fracas e instáveis. Melhor ainda, é compatÃvel com 802.11b / g existentes produtos.
Easy Setup Assistant
O roteador vem com um CD com um assistente de configuração fácil que ajuda a você passo a passo para completar a sua ligação à Internet, sem fio as configurações de rede e configurações de segurança. Esta caracterÃstica permite que os usuários novatos até mesmo configurar o roteador de produtos sem sacrificar recursos-chave, joga a reprodução automática de CD incluÃdo para ter sua rede estabelecida de forma rápida e hassle-livre.
Quick Configuração de Segurança
QSS para Quick Configuração de Segurança é um recurso útil que permite aos usuários instalação quase que instantaneamente a sua segurança, simplesmente pressionando o botão QSS no roteador sem fio, que estabelece automaticamente uma conexão WPA2 seguro, de imediato, proteger a sua rede.
O roteador também possui funções avançadas, SPI firewall protegendo sua rede impedindo ataques externos, gestão de controle de acesso, que ajudam pais e administrador de rede, IP QoS para organizar a largura de banda, etc
BI VOLTS
Software Specification
Standards IEEE 802.11n*,IEEE 802.11g, IEEE 802.11b
Wireless Signal Rates Up to 150Mbps
Frequency Range 2.4-2.4835GHz
Wireless Transmit Power 20dBm(MAX)(EIRP-total effective radiated power is 20 dBm(100mW), antenna gain will not influence wireless transmit power)
Modulation Technology DBPSK, DQPSK, CCK, OFDM, 16-QAM, 64-QAM
Receiver Sensitivity 130M: -68dBm@10% PER
54M: -68dBm@10% PER
11M: -85dBm@8% PER
6M: -88dBm@10% PER
1M: -90dBm@8% PER
Hardware Specification
Interface 4 10/100M LAN Ports
1 10/100M WAN Port
Antenna 3dBi Detachable Omni Directional Antenna
Power Supply Unit Input: Localized to Country of Sale
Ouput: 9VDC/0.85A Switching PSU
Operating temperature 0oC~40oC (32oF~104oF)
Storage temperature -40oC~70oC (-40oF~158oF)
Relative humidity 10% ~ 90%, Non-Condensing
Storage Humidity 5%~95% Non-Condensing
Dimensions 6.9 x 4.4 x 1.2 in. (174 x 111 x 30 mm)
Compre na CDmidia.com: www.cdmidia.com/comprar/roteador-tp-link-tl-wr741-150mbps...
Edison was a pioneer of sound recording and reproduction. He founded the Edison Phonograph Company in 1888 and began the production of the first phonograph cylinders.
The first mass-produced cylinders were made of brown wax. They wore out very quickly—often after being played only a few dozen times. Over time, the materials were improved: brown wax was replaced by hard black wax, which could withstand several hundred plays, and this was later replaced by Blue Amberol material.
- Edison Blank Record (1888 - 1906) - an unrecorded brown wax cylinder. Sound could be recorded directly using a phonograph, and after re-shaving the surface of the cylinder with an Edison Shaving Machine, it could be reused for recording multiple times.
- Edison Gold-Moulded Record (1902 - 1912) - a cylinder made of hard black wax, produced using a gold-coated master cylinder, with a playing time of about 2 minutes.
- Edison Amberol Record (1908 - 1912) - an improved technology with more grooves per inch and a playing time of approximately 4 minutes.
- Edison Blue Amberol Record (1912 - 1929) - offering the same playing time, but made of reinforced celluloid, which was significantly more durable.
- Edison Diamond Disc Record (1912 - 1929) - a 10-inch disc with approximately 5 minutes of playing time per side. Instead of the side-to-side movement used by modern records, these discs employed vertical (up-and-down) groove modulation and rotated at a speed of 80 RPM.