View allAll Photos Tagged modulation
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
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 ]
Caught in the middle of an recording and the programming :)
Music :
soundcloud.com/nightbirds-electronic
soundcloud.com/nightbirds-past-records
Vidéo :
(declining peony - crop)
I can't put this feeling into words. I have tried over the last week and cannot find the words that will express the significance this has had for me: observing loving mothers with their children, and families together has had such a healing effect on my heart. Thank you.
The ability to be changed by what you feel and see can be a powerful gift. We are changed by what we do. In this way, I am my own mother. I carry my mother within me.
In truth, we are all alone in some way, and in truth, we are never alone. Because we are all our own mothers.
- - - -
When you are alone, when you are weak, try to be a loving mother to yourself. Try to speak to yourself the way you would speak to the people whose heart, growth, future you hold most precious.
Teach your children how to be a loving mother to themselves.
Judgment and shame and guilt radiate from the inside out. So does unconditional love. So does acceptance, forgiveness and encouragement. Start by loving yourself.
After the gift of life, I believe this is the greatest gift.
Happy Mother's Day.
Various outputs from a C++/OpenGL custom software i'm working on.
Demo here: vimeo.com/user18035206/sound-sculptures
really good stopping power AND modulation. A little finicky to set up, but many other cantis are worse.
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.
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 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.
OSC is an installation dealing with interference, slicing time and the perception of time itself that tests the senses of the viewer. Interference and stroboscopic patterns give a new dimension to the perception and experience of time. The audiovisual overload of OSC sheds light on the question how our sensory apparatus constructs meaningful experiences from information without reference.
Ulf Langheinrich (D) founded the media art collaboration Granular Synthesis together with Kurt Hentschläger. They collaborated on numerous large scale immersive installations such as Modell5, Noisegate and Areal. Since 2003 Langheinrich has realised several solo projects aimed at achieving a direct sensory impact. They focus on creating specific modulations of the projected material in time and in the projection-space, and effecting interference movements between the perceptive and processing potential of the eye-brain-apparatus.
Camera: Polaroid SX-70 Land Camera PolaSonic Model2. Film: Impossible Project PX 70 Cool Color Shade.
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
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
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...
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 ]
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.
The recurring search for an appropriate sans serif display typeface led to the creation of Egalitaire Sans – a typeface for the people. Egalitaire Sans is a rationalist geometric display typeface. Fonts such as Verlag, by Hoefler and Frere Jones, and Karbon, by Kris Sowersby are to be noted as influences in the current design process. The first, respectively, for its elegant geometry and reference to Art Deco style, and the second for its unconventional and recurring character shapes, and very slight modulation. The stylistic properties of Egalitaire Sans allow for legibility at a wide range of point sizes, however, headings or large display text are the optimal usages. The thin weight of the typeface elucidates its geometries and stylistic characteristics, whilst making it more versatile than a hairline weight. The design is restrained, yet not spartan in personality, projecting a tone that bridges minimal elegance, and playful oddity. Egalitaire Sans is the first typeface by Gillian McCarthy, a third year design student at the University of Otago.
This is a 1955 model National NC-300 receiver, this 57 year old design was considered the state of the art in its day. It is all tubes/valves. It weighs 50 lbs. I am in the process of restoring its younger sibling the NC-303. It came out in 1957. The two designs are very similar but the NC-303 has selectable sidebands for the newish SSB (Single Sideband) signals that were becoming prominent in the late 1950's. AM (Amplitude Modulation) was also prominent before loosing out to the SSB technology that occupies 1/3 the radio spectrum of AM. There were many battles on the airwaves before SSB won and became the voice standard.
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 ]
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.
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 ]
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
SMS303 Tantek Tanrak (9 module Modular FX):
- Modulation Oscillator
- Multi Delay
- Fader-Panner
- Dynamic Noise Filter 2
Info:
Mid 1980's Tantek, Tanrak Studio Effects Rack which was available in kit form or ready built. On the face of it, they're simple analogue effects - a bit old-fashioned, really - but that's the charm of them. They've perfectly useable and immediately accessible, so you'll have great fun fiddling with the settings - try sweeping the EQ frequency, or riding the delay time for on-the-fly munchkinisation, for instance.
Even better, you'll find new ways to patch the modules together. Everything - in, out and sidechain - is accessible from the rear panel (there's a default path from left to right across the rack if you don't want to use patch cords) so you can create LFO-modulated delay effects, frequency-sensitive compression ... you think of it, you can do it.
MULTI-DELAY - This exciting module opens the way to high quality time domain effects including ADT, chorus, echo, vibrato and reverb. It features a built-in limiter, auto-optimising bandwidth, true spatial stereo outputs and multi reflection reverberation.
MODULATION OSCILLATOR - A CV modulation source whose features include sinewave output, variable duty cycle, key or CV controlled depth, triggerable sweeps and two independently variable outputs. Used with the muli-dealy to create chorus, flanging etc.
DYNAMIC NOISE FILTER - An effective single ended, easy to use, stereo noise reducer which will be found invaluable in any home studio set up to enhance the signal to noise ratio of outboard effects including those which exhibit digital quantisation noise.
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...
period doubling (frequency halving) in an RF pulse using a 5 pence diode. The interesting behaviour here is how rapidly the frequency-halving follows modulations. Thus it can be used for frequency translation of fast signals.
Caleb Studstill explains his poster titled "Understanding the Role of Sphingosine Kinase 2 in Immune Modulation and Viral Persistenc" Thursday, April 13 during the Research Poster Session @ Missouri Life Sciences Week 2017 | Photo by Roger Meissen, Bond LSC
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.
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...
William Hazlitt, writing in 1823, described the colors of the costume worn by the sitter in this memorable portrait as resembling 'the leaves and flower of the water-lily, and so clear'. The drawing and modeling are equally assured in the firm delineation of the features and the gentle modulation of light. The tilt of the head and the angle of the shoulders provide a distinctive characterization for this unknown figure. Similar attention has been given to the costume with its slashed sleeves, puff shoulders, embroidered chemise and elegant headgear. The artist has combined the simplicity of form, attention to detail and high degree of finish often associated with his work. However, it lacks the abstract qualities of Bronzino's mature portraits which transcend a feeling of reality in favor of the metaphysical.
An attribution to Bronzino has not been universally accepted and some scholars have favored an artist from north Italy, specifically from Emilia or Lombardy. The mitigating factor in such an argument lies in the costume which is not Central Italian in style. If the portrait is by Bronzino, then it must be early in date, between the 'Portrait of a Lady with a Lap-dog' (Frankfurt, Städelsches Kunstinstitut) or the 'Portrait of a Boy with a Book', dating from the early 1530's (Milan, Castello Sforzesca, Trivulzio collection), and the 'Portrait of a Young Man with a Lute' (Florence, Uffizi) or the 'Portrait of Ugolino Martelli', dating from the mid-1530's (Berlin, Staatliche Museen). It was at the beginning of this decade that Bronzino worked in Pesaro for the court of Urbino (1530-2) and it is possible that he took the opportunity to travel in Emilia, to places like Bologna, Ferrara or Modena. Alternatively, north Italian fashions could have been seen in the Marches, either at Urbino itself or in Pesaro, owing to the strong dynastic connections between Italian courts.
My first successful attempt to build my own little radio station =)
I used a square wave generator module to produce the carrier wave and modulated it with a simple normal transistor (Circuit diagram will follow though!)
The signal can be received from a distance of one meter with the small antenna, and more than 15 meters (I havent found out the actual range yet, but the radio in our garage receives it quite well =) ) with a very long wire i found laying around in my room.
The experiment is part of our radio station project at school.
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
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
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.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya GarcÃa
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 ]
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.
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 ]
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 ]