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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 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
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.
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.
You can view/download other sizes of this image here.
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
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.
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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.
Purple LED lights seen in room light, but this time with the viewer's eyes (and camera) moving quickly past them. Instead of steady streaks of purple light, you can now see that each bulb has a steady red LED glowing in it, and also a blue LED that is only on about three-quarters of the time.
And apparently, 100% red LED glow plus 75% blue LED glow equals this color of purple!
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
Gun Cabinet View.
In this cabinet we have the Gun Triode ( localised in the ceramic insulator ).
The Gun is the electrons source of the accelerator. It defines the pulsed characteristics of the electron beam ( duration, rate ).
The Gun Triode is a base of a thomson TH 338 triode. It is an "oxyde coated" type, heated by a 40 W tungstene filament. It is heated by a DC voltage to avoid a electron beam modulation.
To start the operation of the gun, 15 minutes are necessary for the warm-up of this cathode.
The anode is the accelerator body, at the earth potential. The gun's cathode and grid are referenced to a negative high voltage of -80 kV. Considering this, in short pulse mode, negative pulses are applied on the gun's cathode to get it conductive.
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 ]
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
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...
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.
For this photograph, I wanted to create a high-key photo. In chapter 4, Freeman states "with all the tonal modulation taking place in light tones, is high key". This is the technique that I was trying to achieve. I had to use the Dodge-&-Burn tool in PS to lighten some on the tones in this photo. Not my preferred style, but it was fun to try!
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 ]
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
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.
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 ]
On the bench - symptoms are the typical ring modulation type tones that follow notes, volume pulsing and scratching that follows the notes being played.
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
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.
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.