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(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.
Photomicrograph 1000x Hoffman Modulation Contrast with Nikon Coolpix 885. From Heron's Head Park salt marsh pond, Cyanobacteria and Melosira diatom with bubble.
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 ]
Microscopy 400x Hoffman Modulation Contrast. From a salt marsh pond in Heron's Head Park, San Francisco Bay.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
A Spanish Airforce McDonnell Douglas AV-8B Harrier II in a full hover. First entered service in 1973, and still being used by the Spanish and Italians
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 ]
This is being tested using a 1kV anode voltage instead of the 8kV on the datasheet. The filament voltage is regulated at 1V with a 3.3Ω series resistor. Modulation voltage is 12V. Acceleration (55v) and Focus (31-55v) are approximately in proportion with the original ratios.
ASM Hydrasynth Desktop
The HYDRASYNTH Desktop / Rack has the same great sound engine as the HYDRASYNTH Keyboard. The sound engine is a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts.
Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched.
As for the performance capabilities, The Hydrasynth Desktop / Rack has 24 polyphonic pressure touch pads so that you can play the unit without needing to connect a keyboard or other controller. Using multiple pad layout modes as well as quick to access scale modes, the Hydrasynth Desktop / Rack is easy to make music on.
The Hydrasynth Desktop / Rack comes with rack ears so that you can mount it in a standard 19" rack.
Polytouch™ pads
One problem with many desktop or rack synths is that you usually have to connect them to an external controller to play them. The idea behind having a rack or desktop unit you can put anywhere is that it is out of the way. This is fine until you want to start doing some sound editing or adjusting it in real-time. Then you want a way to play it.
We have included 24 polyphonic pressure sensitive pads that allow you to actually play the synth. With multiple pad layouts to choose from as well as multiple scales, playing the Hydrasynth Desktop is its own musical experience.
Oscillators
The tone generation capability is the heart of any synthesizer.
The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms.
Wavemorphing is a feature usually found on synths with preset wavetables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, our oscillators 1 & 2 have our WAVELIST mode. This mode allows you to pick and choose 8 waves, from our bank of 219, arrange them in the order you want, and then morph from one to another.
mutators
Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new
(and old) ways.
Each MUTANT allows you to choose from the following processes:
FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs.
Wavestack™ - creates 5 copies of the incoming sound and allows you to set a detune amount.
Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun.
Pulse Width - This will pulse width modulate ANY input sound.
PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound.
PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section.
Harmonic Sweep - this will sweep the harmonics of the incoming sound.
PhazDiff - this takes the input signal, shifts the phase and then creates a difference result with the original signal
The Mutants can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator... Of course, the routing is flexible so you can choose the other oscillators as mod sources if you like.
Mixer/ filter routing
The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator.
The Mixer allows you to mix levels as well as pan the input source.
There is a balance control that allows you to choose how much signal of each source is routed to filters1 and 2.
The filters can be set to be parallel or series for ultimate flexibility.
filters
If oscillators and tone generators are the heart of a synthesizer, the filters are the soul.
The Hydrasynth has two filters that can be configured in series or parallel.
The first filter has 16 different filter models, giving you multiple options for tailoring your sound.
The second filter is a 12db per octave has a continuous sweep from either low pass > bandpass >high pass or low pass > notch > high pass, similar to the way the classic SEM filter worked.
LFO's
5 Low-Frequency Oscillators…YES, 5.
Much like our sound engine, the LFO’s are not ordinary by any means.
The Hydrasynth LFO’s feature a STEP mode that allows you to create patterns with up to 64 steps. Having 5 mini step sequencers gives you an amazing amount of possibilities for further shaping your sound.
Of course, there are also 10 standard waveforms to choose from.
The LFO's all have delay, fade in, 3 triggering modes, smoothing, start phase, one-shot mode so that they can act as envelopes and BPM sync.
envelopes
5 DAHDSR Envelopes……YES 5.
An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.
The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in sync to your song.
You can also loop the envelopes to create LFO’s whose shape can be voltage controlled in the modulation matrix.
The envelopes have the added ability to be triggered from multiple sources as of the 1.5 update.
MODULATION MATRIX
The modulation capabilities on the Hydrasynth are endless.
With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155
modulation destinations.
Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator.
The Modulation matrix points themselves can also become modulation destinations.
Modulation sources & destinations include the CV Mod In & Out jacks as well as MIDI CC’s.
ARPEGGIATOR
The arpeggiator allows for standard note arpeggiations but also has a phrase arpeggio built-in. Parameters like RATCHET and CHANCE will generate other rhythmic patterns with some randomness to add life and spontaneity to your performance.
You can also modulate most of the parameters in the arpeggiator so imagine using LFO’s, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time.
CV/GATE - MIDI - USB
There is the standard MIDI and USB/MIDI interfaces on the synth but we go deeper and allow the use of CV/GATE interfaces for connecting to the modular world.
It supports the standard voltages for Eurorack modulars, the 1.2V per octave Buchla standard, as well as some of the Japanese Volts>HZ products. The MOD in and outs allow for modulation from DC to full audio ranges, expanding your modulation capabilities.
Main Controls
The Main system controls are where you navigate your patches, configure system settings and see parameters like the envelopes, waveforms, filters in the OLED screen.
Init and Random buttons will allow you to initialize or randomize a complete patch or specific modules with a press & hold + module select button.
Pressing the HOME button returns you to navigating patches in a simple and easy way.
master controls
The Master Control section is where all parameter editing, patch naming, and Macro performing is done.
Using OLED screens, high-resolution encoders with LED rings, and 8 buttons, this section is designed to give you good feedback on what is going on.
The VOICE parameters give you access to play modes, analog feel, voice panning and many other features.
macros
The patch MACROS are designed to allow the user deep control over the engine in live performance.
The 8 assignable encoders and buttons can each be routed to 8 destinations. Complete sound transformations can take place with the press of a button or turn of a knob.
patches
The Hydrasynth comes with 5 banks of 128 patches in total. We hired some of the best patch designers around to create the 256 factory patches.
Finding the patch you want and searching the library is made easy with our BROWSER. Our PC/MAC based Patch Manager plug-in also allows easy moving of patches to create your favorite order as well as load in new patch libraries in the future.
effects
The effects chain goes beyond the typical ones found in other synths. Pre-effects and post-effects give you some unique ways to process your sound.
The delays and reverbs were modeled on some of the most popular effects on the market.
The effects are the perfect way to complete your sound, in the box.
لطلب شراء المنتج و الشحن اتصل بنا على الارقام التالية
☎01006237502
☎01227545903
☎01127214405
☎01095518233
✅ضمان ضد عيوب الصناعه
لو حابب تعرف أكتر عن المنتجات أو تشوف أكتر تقدر تزور موقعنا الرسمي 👇
ومن خلاله تقدر تعمل أوردر يوصلك لحد باب البيت في أسرع وقت أو تشرفنا بفرع الشركة :
217 شارع احمد زكي - المعادي ميدان فايدة كامل امام سنتر الهدي والنور
تقدر تدخل علي صفحاتنا الرسمية علي فيسبوك وتعرف أكتر عن المنتجات من خلال الروابط👇
www.facebook.com/mfmusicalinstrumentsegypt/
طرق الدفع لدينا:
متوفر دفع بالفيزا كارد و الماستر كارد مع ميزة انك تقدر تقسط اي منتج مع البنك الاهلي المصري بدون فوائد لمدة 6 شهور
و خدمة QR و المحفظة الذكية و فودافون و اورانج كاش
هدفنا: الثقة - التميز - الأبداع - العمل علي راحة العميل
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.
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 ]
Envelope generated by direct PWM synthesis on an Arduino. The beginning of this envelope is a 32-step exponential attack and the end is a 64-step exponential decay. The envelope is pre-computed using a small C program on a Linux machine, then stored in 256 bytes of Flash memory (ROM) in the Arduino's processor.
Here's some spec's on this sweet system. It's a "Matrix" system, meaning that it has the ability to change all of it's routings on every preset.
Instead of being tied to one signal flow you can have any signal flow you want, when you want. Which is pretty handy for score music composer & guitar instrumental musician who has to constantly change the signal flow.
The switcher has a software interface that allows you to create an icon for each device and it's corresponding input(s) & Output(s), then using the mouse, connect the rig you want to have at that moment with no extra devices connected to the signal path for the cleanest path possible from pick ups to speakers.
A matrix switcher has 16x Inputs & 16x Outputs, so we decided to put 5 switchers in this system, connected them to each other & bunch of other cool gear. Each switcher has a "Group" responsibility:
1. "Master" - Magnetic & Piezo Inputs + 4x Amplifiers + 1 Axe FX ("Front End" of 4 Wire Config) + Multiple Connections to the other Switchers
2. "Harmonics" - Octave, Fuzz & Overdrive devices.
3. "Dynamics" - Compressors, EQ's Filters, Synthesizers.
4. "Modulations" - Chorus, Phaser, Flanger, UniVibe, & Tremolo.
5. "Time" - Delays & Reverbs + Axe FX ("Back End") for Reverb, Delay & Looper.
Any order & combination of series & parallel is possible, the possibilities for signal routings are only limited by the player's imagination...
12 Interlocking Irregular Hyperboloidal Dodecahedra 360 units
In my hand.
Following an initial prototype with only a singular unit type which attempted a hexahedral symmetry analog of 30 Dodecahedra, I developed this more nuanced version, which has a different exterior weaving pattern and multiple paper proportions. However, as a constraint, I attempted to use only one pocket type for all of the units. This makes some vertices different than others in terms of the dihedral angles of the surrounding units, but the edges shafts are long enough to accommodate modulation between vertices without appreciable difficulty in most cases. This is constructed via scaffolding so that each dodecahedron represents one edge of a cube. The resulting compound is at the time of writing this, the largest interlocking origami cubic symmetry wireframe compound by unit count that I know of.
Designed by me.
Folded out of Cordenons’ Stardream paper.
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.
Orange Juice Drive is in a classical RAT type circuit and sounding topolgy. We add extra switch for select between symmetric or asymmetric clipping. Not operable with battery.
Stafford Air & Space Museum
The Apollo survival kit provided 48 hours of survival supplies for the three-man crew. Displayed are the contents of one of two rucksacks.
Radio Beacon
The survival radio was a hand-held, dry-cell-battery-powered, electronic signal and voice communications device. The radio could be operated within the SC by using a connector cable to the SC antenna. A constant emergency-signal and voice-contact device was required to aid rescue teams if postlanding recovery was delayed. Voice reception increased from approximately 30 to 120 miles. Voice modulation improved and radio weight was reduced from 6 pounds to 4 pounds. Beacon range reception also increased to 120 nautical miles, for search aircraft operating at 10,000 feet.
Survival Blanket
Three pieces of nylon-Mylar material that are 60 by 42 inches are provided for the Apollo missions. The material could be used for thermal protection and for signal purposes.
Water Containers
Three water containers were included in the Apollo survival kit. A 1/4-inch-radius indention forming an "X" on each of the two largest sides of the water containers solved a deflection problem which occurred because of pressure differential. A few crewmen also stated that the aluminum caused the water to have an undesirable taste.
The spillway of the water reservoir "Lacul Morii" (Mill's Lake) was commissioned in 1986. The reservoir is the largest lake in Bucharest, with an area of 246 ha. It was built for flood protection and for flow modulation of Dambovita river. Making a lake near an urban area required decommissioning of existing uses, including demolition and decommissioning of a church.
Connected Vehicle SafetyCars that look out for each other
With a little warning, many traffic accidents can be avoided altogether. Enabling cars and scooters to communicate and work together may be the first step to avoid collisions and other incidents. To do this, fast and reliable communication amongst vehicles is critical, even on crowded city streets. Intel Labs, through the Intel Collaborative Research Institute for Connected Context Computing, is exploring visible light from tail lights to support high-speed data transmission over the short distances between vehicles. The technology uses direct modulation of LED tail lights to encode data in the visible spectrum, while maintaining a constant ambient lighting state. At almost no
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 ]
White Sands Missile Range Museum
Telemetry is the science of measuring something in one place and reporting the results in another.
A simple example of telemetry is the automobile speedometer, which measures the wheels' rotation and presents it in miles per hour on the dashboard.
Most telemetry used in missile testing is Radio Frequency (RF) transmitted from a missile to a ground receiver. NASA uses telemetry to keep tabs on the functioning of space equipment. Telemetry has been one of the most important data sources used for testing at WSMR.
This telemetry package was discovered in an old missile assembly building in the mid-1980s. Shipping documents indicate that it was shipped to Douglas Aircraft Company at White Sands Proving Ground in 1956 and 1957.
These Commutator/ Transmitter sets are believed to have been utilized in the Honest John rocket.
Especially noteworthy is the fact that this Commutator was a motor driven, mechanical device and the VCO/Transmitter package used vacuum tubes. Today's packages are completely solid state.
How did this circa-1957 telemetry package work?
COMMUTATOR
Analog voltages representing a number of functions such as elevon, rudder and seeker head positions pressure, and battery voltages were sequentially sampled and converted to a voltage pulse temperature, train (commutated data) and sent to a VCO
VCO (Voltage Controlled Oscillator)
The voltage pulse train (commutated data) was used to drive a VCO to vary the oscillator's center frequency (called FM or frequency modulation)
TRANSMITTER
This FM (frequency modulated) signal from the VCO was then sent to a RF Transmitter (radio frequency amplifier) that transmitted the data through an onboard antenna to a ground station receiver
RECEIVER
The ground station received this transmitted data signal and sent it through an FM discriminator that changed the data signal back to a voltage pulse train.
DECOMMUTATOR
The decommutator converted the voltage pulse train data back to the original set of analog functions that were then recorded on media such as strip charts or analog tapes.
Attack, Decay, Sustain, Release envelope generated by direct PWM synthesis on an Arduino. The envelope is pre-computed using a small C program on a Linux machine, then stored in 256 bytes of Flash memory (ROM) in the Arduino's processor.
Image shows placement of a single front loaded primary transmit coil running across a 50MHz DDS (Direct-Digital-Synthesiser). The DDS includes full Freq-Phase modulation control for both power and data transfer. On-board circuitry also includes real time phase and magnitude monitoring of primary coil voltage and current waveforms allowing full monitoring of resulting transformer impedance and power coupling.
A single coil driver was included as a fallback option after requirements changes mandating direct wire galvanic coupling of signals into the eye via a percutaneous plug.
Advanced eye-tracking coil driver functions were subsequently removed from future designs with eye tracking then reverting to the use of mirrors and FPGA driven image segmentation ;-(
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 ]
A pedal for aggressive, mid-gain, fuzz like clipping drive tone fans. High output capability can used for pushing an amplifier. It also acts as a clean boost, when drive knob is all the way down. Operable with battery.
Controls: Volume, Fine, Gain (6 position rotary switch)
Dimensions: 20" wide X 10" tall X 12" deep.
Uses standard 1/4" jacks for audio out and patch panel.
Monophonic, with low-pass filter, envelope (HADSR) controls, LFO, pitch width modulation, white and pink noise generation, and external signal in jack.
About the Korg MS-10:
Another view from our studio. We used RSF synth and the modular system : (x3) Exp I ; (x2) Exp II ; (x2) Programmer ; (x1) KM-8 mixer.
Music :
soundcloud.com/nightbirds-electronic
soundcloud.com/nightbirds-past-records
Vidéo :
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 ]
12 Interlocking Irregular Hyperboloidal Dodecahedra 360 units
2-fold view.
Following an initial prototype with only a singular unit type which attempted a hexahedral symmetry analog of 30 Dodecahedra, I developed this more nuanced version, which has a different exterior weaving pattern and multiple paper proportions. However, as a constraint, I attempted to use only one pocket type for all of the units. This makes some vertices different than others in terms of the dihedral angles of the surrounding units, but the edges shafts are long enough to accommodate modulation between vertices without appreciable difficulty in most cases. This is constructed via scaffolding so that each dodecahedron represents one edge of a cube. The resulting compound is at the time of writing this, the largest interlocking origami cubic symmetry wireframe compound by unit count that I know of.
Designed by me.
Folded out of Cordenons’ Stardream paper.
Video here: www.youtube.com/watch?v=XrHkvvtrXhA
The Crazy Looper is a small handmade device that allows you the create real-time noise loops with a fast modulation metallic effect.
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 ]
This is a tremolo that we have designed as standard sounding with LFO. Transparent and in sinusodial wave form. Extra led indicates LFO's speed. Not operable with battery.Controls: Depth, Rate--SOLD--
Dimensions: 20" wide X 10" tall X 12" deep.
Uses standard 1/4" jacks for audio out and patch panel.
Monophonic, with low-pass filter, envelope (HADSR) controls, LFO, pitch width modulation, white and pink noise generation, and external signal in jack.
About the Korg MS-10:
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.
Having fun with my new Strobist gear. Decided to take this interesting older radio out of the cabinet and see what I could do.
Strobist info:
Canon EOS 40D, Canon EF 70-200mm f/2.8L USM, 13mm extension tube
1/250, f/8, ISO 100
Canon Speedlite 430EX @ 1/64, 105mm camera right
Canon Speedlite 430EX II @ 1/64, 24mm behind radio
20" silver reflector camera left
Flashes fired via CyberSync triggers