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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.
Teisipäev, 14. aprill kell 19.30 ja 21.00
Kanuti Gildi SAAL (Pikk 20)
Pilet 10/7 eelmüügist, 12/7 enne kontserti
KAVAS:
“Rhythmus 21” (1921): Video Hans Richter, muusika Ove-Kuth Kadak (2015, esiettekanne) … 3’10”
“(üle)küllus” (2015, esiettekanne): Muusika ja video Aljona Kastjušina … 7’
“Controcorrente” (2012, Eesti esiettekanne): Muusika ja video Ivan Penov … 7’30″
“Phase Walk” (2015, esiettekanne): Henri Georg Viies … u 7’
“Cross modulation” (2015, esiettekanne): Muusika Ekke Västrik … 7’
“Ghosts and Whispers” (2014, Eesti esiettekanne): Muusika ja video Damiano Marconi … 6’30″
“Merkin” (2015, esiettekanne): Hendrik Tammjärv … u 7’
“Seppie senz’ossa” (2013, Eesti esiettekanne): Video Paolo Pachini, muusika Roberto Doati … 10’
“Rhythmus 21” (1921): Video Hans Richter, muusika Giovanni Tancredi (2015, esiettekanne) … 3’10”
Audiovisuaalsed kompositsioonid, versioon 1.2: visuaalne väljendus muusikalise mõtte laiendusena.
Eesti Muusika- ja Teatriakadeemia kompositsiooniosakonna audiovisuaalse kompositsiooni kontsert toob kokku selle valdkonna ajaloo olulise repertuaari ja EMTA audiovisuaalse kompositsiooni tudengite loomingu. Sel aastal esitleb EMTA muuhulgas rahvusvaheliselt tuntud heliloojate Paolo Pachini ja Roberto Doati audiovisuaalse kompositsiooni “Seppie senz’ossa” (2013) Eesti esiettekannet.
Kontserdi kunstiline juht on Paolo Girol.
Kestus: umbes 1 tund.
Saadaval piiratud hulk pileteid (kontsert kantakse ette kaks korda, igal kontserdil ainult 50 istekohta patjadel). Hilinejaid sisse ei lubata!
Koostöös Eesti Muusika- ja Teatriakadeemia kompositsiooniosakonna ja festivaliga “Saksa kevad”
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 ]
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 ]
SMS303's Ultra Rare Dutch
Tidal Quad Modular Filter
Only 15-20 are build
Back rear controls, in-outputs
The Tidal Quad is a 4-channel filterbank with extensive control and modulation possibilities. The filter can be used in High-/ Low-/ or Bandpass with an Envelope follower for each mode. There is also an LFO for each set of 2 Channels which allows complex modulations. Additionally it offers a Waveshaper for each channel. For friends of analog distortion this unit leaves no wish open.
* 4x HP/BP/LP - Filtermodule
* LFO Channel 1+2 (Cutoff)
* LFO Channel 3+4 (Cutoff)
* LFO each channel positive or negative switch
* 1 Waveshaper per Channel
* 4x Sidechain Input with Envelope Follower for Cutoff-Modulation
The resonant filter might be the most important effect in popular music these days. However if you want to insert a filter on multiple channels of your mixer and also would like to have a lot of knobs and modulation possibilities, there was no real solution. That's why Tidal Music Electronics announces it's four channel desktop multimode filter. You can switch the four individual resonant filters between Lowpass, Bandpass and Highpass modus. Each filter can be modulated by an envelope follower, a LFO and an external CV. The envelope follower is specially designed to track percussive sounds without false triggering, a key feature when used with drumcomputers, grooveboxes or guitar.
Maximum Modulation:
Each filterbank has 4 VCFs, 4 Waveshapers, 4 Envelopefollowers and 2 Low Frequency Oscillators (LFOs). The filters are switchable between 3 modes, Lowpass, Bandpass and Highpass. The Low- and Bandpass are 24 dB and the Highpass is 12 dB/Oct. The cutoff of each channel can be modulated by it's own Envelope follower which can be fed by a sidechain input or by the audiosignal itself. This option gives you the possibilities to create very funky filter-effects. Each LFO modulates 2 channels and every channel has it's own depth controller which can be set positive or negative. This can be used to generate cool stereo effects.
The Waveshaper
The waveshaper is one of the components which give the filterbank it's unique sound. It actually is a wavefolder which "folds" the tops of the waveform back instead of clipping. This sounds a bit like an overdrive but also has some characteristics of Frequency Modulation.
To give you a better idea what the waveshaper actually does we'll illustrate what happens with a simple sine wave using different ratio settings for each of the two shaper modes.
London uk
Jagadish Adhikari
Actor | Comedian | Presenter | Theatre Artist | Media Professional
Gallery
(Professional stills / theatre & film photographs – to be added)
© Photographer credits (as applicable)
Representation
Open to agency representation
Available for casting on international platforms (UK EU Europe / Asia globally as per project)
Personal Details
Name: Jagadish Adhikari (also credited as Jay)
Gender: Male
Year of Birth: 1990
Age: 34 years
Acting Age: 22–48 years
Place of Birth: Thansing, Nuwakot, Nepal
Nationality: Nepalese
Current Base: Kathmandu (NP)
International Experience: France (Bordeaux, Paris)
Housing Options: Nepal, India France (EU uk and globally availability on project basis)
Physical Characteristics
Height: approx. 166 cm
Eye Color: Dark Brown
Hair Color: Black
Ethnicity / Heritage: South Asian / Himalayan (Nepalese)
Stature: Average, adaptable (character roles, comedic & dramatic)
Main Profession
Actor (Film, Television & Theatre)
Comedian / Stand-up Performer
Presenter (TV / Radio – RJ & VJ)
Media & Communication Professional
Languages
Nepali – Native
English – Fluent
Hindi – Fluent
French – Conversational / Professional working proficiency
Dialects / Accents
Nepali regional accents
Indian subcontinent neutral Hindi
South Asian English
International English (European influence)
Stage & Performance Skills
Improvisation
Character comedy
Social realism acting
One-man theatre performance
Street theatre & awareness drama
Voice modulation
Hosting & live audience interaction
Special Skills
Stand-up comedy
Script development & adaptation
Direction (theatre & television)
Communication strategy & media coordination
Social issue–based performance
Public speaking & moderation
Method acting for character roles
Filmography
Film
Mahapurush – Feature Film
Juvenile – Feature Film
Lakhapati Magne – Feature Film
AARYA – Feature Film
By-Road
Pachuto
Radhika
Satidevi
Danaraj
Sath Sath
Pralobhan (Indo–Nepali)
Farki Aune Chu Ma (Indian Nepali Film)
Television / Web Series
Jiwan-Chakra (2008) – Jay (Breakthrough Role)
Bharosa – Actor & Deputy Director
RisaniMaaf
Bhadragol
Sakkigoni
SARKHAR KO SIR
Halka Ramailo
U&I
College Nepal
Theatre
Performed in 18+ stage dramas across 88+ locations in Nepal, including:
Muna-Madan
Death of Happiness
Bahula Kaji Ko Sapna (as Bir Bahadur)
Ek Raat
Ek-Chihan
Numerous social awareness and humanitarian street plays
Awards & Recognition
Best Supporting Actor – NAFTA Awards (2009)
Recognized for contribution to socially engaged theatre and media
Education & Training
Doctorate (PhD) in Management –international university France (ongoing)
MBA – IAE Université de Bordeaux, France
M.A. in Sociology – Tribhuvan University, Kathmandu
Advanced Diploma in Management – Inspire College, London, UK
Acting Training:
National Theatre, Nepal
Hollywood Film Institute (Dov Simens)
Additional Professional Experience
Communication Officer – UN agencies
Media Coordinator & Advisor – NGOs & international projects
Social activist working with:
Nepal Red Cross Society
HEAN
Voice of Development
Availability
Film
Television
Web Series
Theatre
International Co-productions
Festivals & Experimental Cinema
Jagadish “Jay” Adhikari – Official Public Profile
Actor • Comedian • Media Personality • Advisor • Counselor • Researcher • Humanitarian
🔹 Basic Information
Full Name: Jagadish Adhikari
Also Known As: Jay / जय जगदीश अधिकारी
Date of Birth: February 21, 1990
Birthplace: Thansing–04, Nuwakot, Bagmati Province, Nepal
Nationality: Nepali
Marital Status: Unmarried
Family:
All belongs to Government officer & social actovist worker)
Father: Kedar Prasad Adhikari (Government officer & social worker)
Mother: Jayanti Adhikari
Brother: Dr. Ujjwal Adhikari cpunselor and astrologer
🔹 Academic Qualifications
PhD (ongoing Doctorate in Management)
Paris Institute of Management & Technology, France (2025–2027)
MBA – Master of Business Administration
IAE Université de Bordeaux, France (2023–2025)
Advanced Diploma in Management
Inspire College, London, UK (2020–2022)
B.A. in humanit8es and Social Science Tribhuvan University, Kathmandu, Nepal (2014–2018
🔹 Professional Identity
Jagadish “Jay” Adhikari is a multifaceted Nepali public figure an actor, comedian, director, media personality, counselor, advisor, and social activist whose creative journey spans Nepal, South Asia, and Europe. Known for his emotional depth, humor, and social engagement, he bridges entertainment, education, and cultural diplomacy.
🎭 Acting & Performing Arts Career
Early Journey
Began with Red Cross street plays, performing for humanitarian awareness.
Formal training at:
National Theatre, Nepal rastriya nachghar (2008)
Hollywood Film Institute under Dov Simens (2016)
Theatre / Stage Performances (88+ Shows Worldwide)
Performed across Nepal, India, Bangladesh, the UK, France, and Spain. Major plays include:
Muna-Madan
Death of Happiness
Bahula Kaji Ko Sapna (as Bir Bahadur)
Ek Raat
Ek-Chihan
Numerous social, educational, and awareness dramas
📺 Television & Web Series
Jiwan-Chakra (as Jay)
Bharosa – Actor & Deputy Director
RisaniMaaf
Bhadragol
Kya Jamana Aa
Sakkigoni
SARKHAR KO SIR
Halka Ramailo
U&I
College Nepal
🎬 Films
Nepali Cinema
Juvenile
Lakhapati-Magne
AARYA
Sath Sath
Danaraj
Mahapurush
By-Road
Pachuto
Radhika
Satidevi
Bhojpuri & Indian Nepali Films
Pralobhan
Farki Aune Chu Ma
🏆 Awards & Honors
Major Achievements
Best Supporting Actor – NAFTA (2009)
Teej Music Award – Global Actors Association
Appreciations & Recognitions
Honored by:
NRNA UK – Sir Tulsi Ram Poudel (British Army)
NRNA France – Nirmal Aryal
Nepalese Embassy in Paris – H.E. Mohan Krishna Shrestha
Dr. Ram Saran Mahat – Nuwakot Mahotsob
Bagmati Province Chief Minister
Nepal Chambers of Commerce
IME Group Nepal
Minister of Communication, Nepal
Gagan Thapa
French Embassy in Nepal – H.E. Yves Carmona
Malteser International
Shakti Samuha Nepal
🎤 Media & Communication
RJ/VJ & Presenter – Notably “JayHos”
Media Coordinator & Advisor – UN agencies & international organizations
Deputy Director – TV series including Bharosa, Series Aasha, Jiwan Chakra
Stand-Up Comedy – Humor mixed with philosophy & social commentary
Motivational Speaker & Storyteller
🌍 Humanitarian & Social Work
Active contributor to:
HEAN
Nepal Red Cross Society
Voice of Development
Advisor – Utpala Foundation Nepal
Promoting youth leadership, cultural preservation, and creative empowerment.
Uses drama, media, and public speaking to support:
Education
Mental health
Social awareness
Humanitarian causes
🌐 Online Presence & Media Coverage
Featured in:
YouTube (performances, interviews, BTS videos)
News portals: Tourism Mail, The Rising Nepal, Ekantipur
Professional listings: IMDb, Filmweb, LinkedIn, NepaleseArtist.com
Cultural events, cooking competitions, food-safety campaigns
Stage festivals and international programs
📚 Special Interests & Creative Projects
Experimental one-man films
Nepali & bilingual audiobook scripts
Photography and documenting global cultures
Has traveled to 33+ countries since 2009
Exploring themes of exile, identity, humor, introspection, philosophy
Explore8848 – Online Counselling Center
Founder: Jagadish Adhikari
A micro-entreprise counseling initiative offering:
One-on-one emotional counselling
Stress & adaptation coaching
Cross-cultural support
Guidance for international students in Europe
Career & academic counseling
Group workshops & webinars
Services in Nepali, English, and simple French
Mission: Provide accessible, empathetic, culturally informed mental and emotional support.
Clients: Nepali diaspora, international students, expats, and multicultural communities across Europe.
🌟 Personal Philosophy
“From the narrow streets of Nuwakot to the stages of Europe,
my journey has never been about fame —
it has always been about the message.
Art can heal, educate, and unite people across borders.”
Jagadish “Jay” Adhikari
⭐ Signature Quote
“From the narrow streets of Nuwakot to the stages of Europe, my journey has never been about fame — it has always been about the message. Art can heal, educate, and unite people across borders.” Jagadish “Jay” Adhikari
🎭 Acting • Creativity • Art
“Acting is not about pretending — it is about revealing the truth we hide from ourselves.”
“Every character I play teaches me something about humanity.”
“Humor is my bridge; emotion is my language.”
“Art is my passport. It lets me travel beyond borders, cultures, and identities.”
“A single performance can touch a thousand hearts — that is the power of storytelling.”
🌍 Humanitarian • Social Work
“I believe social responsibility begins with awareness — and awareness begins with a story.”
“Humanitarian work is not charity; it is compassion in action.”
“When we uplift one voice, we empower an entire community.”
“Service is the highest form of art.”
🎤 Media Personality • Communication
“Communication is not just speaking — it is connecting, understanding, and empowering.”
“The microphone is a tool; the real message comes from the heart.”
“Media can create narratives, but we must choose narratives that create hope.”
Counsellor • Explore8848 Founder
“Everyone carries a silent story. Counselling is the art of listening to what remains unspoken.”
“Emotional strength is not the absence of struggle — it is the courage to continue.”
“In a foreign land, guidance isn’t a luxury; it is a lifeline.”
“Healing begins when someone finally says: ‘I understand you.’”
📚 Philosophical • Life Journey Quotes
“Life has taken me across 33 countries, but the journey within has been the longest.”
“Identity is not where you were born — it is what you choose to become.”
“The world teaches you geography; struggles teach you humanity.”
“Exile is not always a place. Sometimes it is a feeling we learn to transform into strength.”
🎬 Professional Mission & Vision
“My mission is simple: use art, communication, and compassion to create meaningful impact.”
“Entertainment becomes powerful when it educates. Education becomes powerful when it inspires.”
“I stand at the intersection of creativity and responsibility.”
✨ Short Taglines / Public Bio Headers
These are perfect for posters, websites, or official documents:
Actor. Comedian. Counselor. Researcher. Humanitarian.
Where art meets responsibility.
A storyteller shaped by struggle, service, and global journeys.
Creativity with purpose.
Turning experiences into expression, and expression into impact.
Dr. Jagadish Adhikari (Jay)
Nepalese Actor | Academic | Consultant | Cultural Strategist
Currently based in Paris, France
Contact: +33 7 73 28 75 57
+9779841015016 | Email: drjadhikari@gmail.com
Professional Snapshot
Dr. Jagadish Adhikari, professionally known as Jay, is a multidisciplinary professional whose work spans performing arts, strategic communication, and humanitarian engagement. Known for blending creativity with institutional expertise, he bridges theatre, media, and advisory roles to advance social awareness and cross-cultural dialogue.
Actor / Director / Comedian: National theatre, TV series, and films (including Chakkar, Juvenile, and Sakkigoni).
Consultant / Advisor: Strategic communication and humanitarian programs for UNICEF, UNDP, and French Embassy Nepal.
Academic: PhD in Management (ongoing), MBA from IAE Université de Bordeaux, MA in Sociology from Tribhuvan University.
Cultural Engagement: Founder/Contributor of Explore 8848, fostering international cultural exchange.
Professional Experience
Customer Service – Grand Hotel General Restaurant, France (Oct 2023 – Present)
Senior Counselor – Study Destination Centre Education Consultancy (Nov 2019 – August 2023)
Advised students on academic pathways, managed client relations, supported international education processes
COMMunication Relationship Officer – UNICEF WASH Program partnerships woth SSC Sunrise Social Club Nuwakot Nepal (Jan 2013 – Sept 2019)
Administration, event coordination, stakeholder relations
Character Artist – National Media Production (Chakkar, Juvenile, etc.)
Drama Actor / Director & Stand-up Comedian – Active in national government cultural programs like radio nepal nepal police nepal army rastriya nachghar m art theater mandala theater actors studio Kantipur film academy Oscar film academy and polygon college for masters in journalism since 2008 till date..
Education & Certifications
PhD Ongoing
MBA completed – IAE Université de Bordeaux, France
BA humanities and social sciences – Tribhuvan University, Kathmandu
Certofied English Proficiency from london uk TOEIC Speaking 160 (Level 7), Writing 155 (Level 7)
Professional Memberships: Film Artistes Association of Nepal & UK Artist Unions (ID: 00274)
Driving License: nepal and UK Provisional (Categories A, B, f, k, p)
Specialized Training & Recognition
UNICEF Nepal: Training on Harmonized Approach to Cash Transfer (HACT)
GATE College: Certificate of Appreciation for contribution to World Food Safety Day
Cultural Corporation (Sanskritik Sansthan): Recommendation for promoting Nepali culture
Acting National theater nepal
Hollywood Film Institute under Dov Simens California usa
Cover Letter (Summary)
I am writing to express my interest in a professional position within your organization. With over a decade of experience spanning education consultancy, administration, and the creative sector, I bring a unique combination of strategic thinking, creativity, and public engagement.
My career combines international academic expertise (PhD and MBA) with hands-on experience in performing arts, including theatre, television, and film. I have contributed to UNICEF, UNDP, and cultural initiatives that link policy with public communication.
I am confident that my interdisciplinary experience and adaptability would allow me to make a meaningful contribution to your organization. I look forward to discussing how my skills align with your needs.
Yours sincerely,
Jagadish Adhikari
Wikipedia-Style Biography
Jagadish Adhikari (Jay) is a Nepalese actor, presenter, academic, and consultant. Born in Thansing, Nuwakot, Nepal, he began his career with street theatre for social awareness under the Nepal Red Cross Society. He later trained formally at the National Theatre of Nepal and the Hollywood Film Institute (USA).
Adhikari has appeared in TV series (Sakkigoni, Halka Ramailo), films (Chakkar, Juvenile), and multiple stage productions. He served as Deputy Director of Nepal Television dramas Bharosa and Jiwan Chakra.
Academically, he holds a PhD in Management, an MBA from IAE Université de Bordeaux, and an MA in Sociology. He has worked with UNICEF, UNDP, and the French Embassy, contributing to development communication, DRR, and institutional accountability worked woth Mr Jagadishwor Thapa.
Currently based in Paris, France, he contributes to the Explore 8848 cultural initiative, fostering international cultural exchange.
Artist’s Statement
I come from a land of hills where stories are not written—they are lived.
My earliest stage was the street, my first audience a community, and my first purpose service.
I perform because listening alone is not enough.
I study because feeling alone is not sufficient.
Theatre taught me how emotion moves people; management taught me how systems move societies. Between these disciplines, I learned that human dignity is both an art and a structure—fragile, yet designable.
I exist between stages:
Between the village and the world
Between comedy and consequence
Between exile and belonging
When I perform, I do not escape reality—I return to it with sharper language.
When I consult, I do not abandon creativity—I apply it where policy meets people.
Explore 8848 is not a brand; it is a metaphor: ascent without domination, ambition without erasure, and global movement without forgetting origin.
I seek convergence—where laughter reveals truth, governance remembers empathy, and identity survives movement. I am a student of systems, a practitioner of performance, and a witness to migration. What I offer is not perfection, but presence—on stage, in policy, and within the ongoing conversation of belonging.
DSP-based drumcomputer. Very versatile. Offers 4 different algorithms to create drums with: an emulation of the Roland TR-series, Frequency Modulation, Physical Modelling and 12bit samples. Love it for being an allrounder.
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
Got two Korg Monotron in the mail today. Amazingly small. About the size of an iPhone.
So far I really really like them. The filter is damn raw, and combined with the LFO modulation (ranging from slow enough to fast enough, with a ramp down saw waveform) you can get some sweet squelches out of it. Also, the LFO is retriggered whenever you hit a note. Good for faking an envelope if you let it control the filter.
When using the external input, max out the LFO speed and depth and set the resonance to about 60% and twiddle the cutoff knob for a bitcrusher style effect.
Hmm, if I could sync the VCO's and feed the output of one into the other... These babies are definitely going under the screwdriver tomorrow.
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.
Static
a. inactive, not in physical motion
b. of or relating to bodies at rest or forces in equilibrium
c. a crackling or hissing noise caused by electrical interference
Pulse
a. rhythmical beating, vibrating, or sounding
b. a transient variation of a quantity whose value is normally constant
c. an electromagnetic wave or modulation thereof of brief duration
Shot in Tokyo with Canon 350D and 5D DSLRs, processed with Lightroom (raw files color adjustment and resizing)/VirtualDub (deshaker/deflicker filters)/Sony Vegas (editing). Original rendered in full 1080 HD@30p.
Music : Edge to Life by Recoil on "Bloodline", one of my favorite albums ever. Available from all major music outlets.
All rights reserved to their respective owners.
This is a frame from a video. You can watch it on Vimeo.
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
Age management medicine is not anti-aging medicine because aging will still occur, but the synergy of nutrition with appropriate supplementation, physical activity and hormone modulation constitute the steps to a more enjoyable life and disease prevention.
Species of Melosira from the salt pond site NS-1 in Heron's Head Park, San Francisco, on San Francisco Bay. This was taken with Hoffman Modulation Contrast Optics at 1,000x, from a wet mount slide. This shows the barrel structure of a single cell of this colonial diatom.
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
Architects: Sauerbruch Hutton
Location: Cologne, Germany
Client: MEAG MunichErgo Asset Managment
Area: 42,700 sqm
Year: 2010
A pair of free-form volumes responds to the landscape qualities of the site – a former floodplain of the Rhine – as well as to the memory of villas in park-like settings that once occupied this now increasingly densified area. In addition the new buildings acknowledge the sculptural characteristics of the adjacent twelve-storey 1960s high-rise, while their vivid polychromy supports the organic character of the external space.
In each building the office areas are arranged around three compact cores. Primary cores are connected to the main entrance hall, while secondary ones are entered from the more intimate patio spaces. Every floor can be subdivided into three distinct units, each identifiable through its own reception area, sculptural stair and elevator core. The varying depth of plan offers a great number of variations in office layout. The generosity of the windows is echoed in the glazed corridor walls that ensure maximum light throughout the depth of the plan, while giving spectacular views out towards the Rhine and Cologne Cathedral.
One innovative development lies in the series of finger-shaped canopies that were prototyped as an alternative to a suspended ceiling, so as to take advantage of thermal mass and to increase clear height. All necessary services – lighting, air distribution, sprinklers and acoustic modulation – are unobtrusively integrated in these overhead elements. The offices use groundwater from the Rhine as a source of geothermal energy and to supplement the heating and cooling systems, while also carefully building above the 100-year water level and to flood defence specifications.
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.
Features:
1.Built-in Wireless Bluetooth 3.0 keyboard
2.Desighned with the 7.9 inch iPad in mind
3.7.9 inch iPad display stand for convenient viewing
4.Built-in Rechargeable Polymer lithium battery with lasts for approximately 55 hours
percharge
5.Touch screen interface with multiple uses
6.Light weight,quiet keystrokes,water and dust-proof
Specifications
1.Bluetooth 3.0 standard interface
2.Operating distance of 10 meters
3.Modulation System:GFSK
4.Operating Voltage:3.0-5.0v
5.Working Current:<5.0mA
6.Standby Current:2.2.5mA
7.Charge Time:4-5 hours
8.Standby Time:60days
9.Charging Time:4-5 hours
10.Polymer Lithium Battery Capacity:200mA
11.Uninterrupted Working Time:55 hours
12.Polymer Lithium Bttery life-span:3 years
13.Plymer Lithium Battery Specifications:25mmx16mmx4mm
14.Key Strength:80g
15.Key Life -span:5 million strokes
16.Operating Temperature Range:-10-+55℃
17.Keyboard Dimensions:205x146.5x21mm
18.Keyboard NW:350g
Includes:
1.Wireless/wired keyboard
2.USB Charger
3.User Guide
Order here now: www.casesinthebox.com/wireless-bluetooth-keyboard-for-7-9...
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of the north facade, with the outdoor shower and spa area by the beachfront pool.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Trees
Plants
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0279 Concha.JPG
Record ID: WB2010-0279
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
From Don Edwards San Francisco Bay National Wildlife Reserve, near Drawbridge, the Weep Site, north "connector", on Feb. 18, 2008. Salinity = 52-PPT. Photomicrograph taken at 1,000x magnification, oil immersion, with Hoffman Modulation optics. This Cyanobacterial filament lacked a sheath, but was motile, resembling "Oscillatoria" species found elsewhere in the salt marsh. These motile filaments were in the minority on this date at this site, most similar filaments showing a sheath and no motility. By May, as the Weep Site evaporated and the salinity went up above 100-PPT, the Cyanobacteria vanished, to be replaced by a community of Dinoflagellates.
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 ]
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
Video HERE
Instructions [BuWizz] or [2.4 GHz]
Purchase Full Kit: [LesDIY] or [LetBricks]
Features:
01. RC Drive 6 x 6. Buggy Motor geared at 17 to 1.
02. RC Steering. PF Servo
03. RC Turntable. PF M Motor with Worm Gear.
04. RC Compressor. PF L Motor driving 2 x 6L Pumps. Dual Air Storage Tanks.
05. RC Pneumatics. PF Servo & Pneumatic Switch assembly.
06. Dampened Crane Arm movements for fine control & modulation.
07. PRV Function to automatically shut off Compressor.
08. Powered by 2 x (Buwizz 2.0) or (2.4GHz Module)
09. Live Axle Suspension Front & (Tandem) Rear.
10. Ackermann Steering Geometry. Positive Caster Angle.
11. Working Cab Steering Wheel.
12. Opening Cab & Crane Doors. Technic Figure compatibility.
13. Fully customizable Crane counterweight compartment (88 cubic studs) for better stability.
14. Disengage drive & steering motors for manual locomotion. Working HOG on roof.
Escalinata Ryerson
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
SMS303's Ultra Rare Dutch
Tidal Quad Modular Filter
Only 15-20 are build
The Tidal Quad is a 4-channel filterbank with extensive control and modulation possibilities. The filter can be used in High-/ Low-/ or Bandpass with an Envelope follower for each mode. There is also an LFO for each set of 2 Channels which allows complex modulations. Additionally it offers a Waveshaper for each channel. For friends of analog distortion this unit leaves no wish open.
* 4x HP/BP/LP - Filtermodule
* LFO Channel 1+2 (Cutoff)
* LFO Channel 3+4 (Cutoff)
* LFO each channel positive or negative switch
* 1 Waveshaper per Channel
* 4x Sidechain Input with Envelope Follower for Cutoff-Modulation
The resonant filter might be the most important effect in popular music these days. However if you want to insert a filter on multiple channels of your mixer and also would like to have a lot of knobs and modulation possibilities, there was no real solution. That's why Tidal Music Electronics announces it's four channel desktop multimode filter. You can switch the four individual resonant filters between Lowpass, Bandpass and Highpass modus. Each filter can be modulated by an envelope follower, a LFO and an external CV. The envelope follower is specially designed to track percussive sounds without false triggering, a key feature when used with drumcomputers, grooveboxes or guitar.
Maximum Modulation:
Each filterbank has 4 VCFs, 4 Waveshapers, 4 Envelopefollowers and 2 Low Frequency Oscillators (LFOs). The filters are switchable between 3 modes, Lowpass, Bandpass and Highpass. The Low- and Bandpass are 24 dB and the Highpass is 12 dB/Oct. The cutoff of each channel can be modulated by it's own Envelope follower which can be fed by a sidechain input or by the audiosignal itself. This option gives you the possibilities to create very funky filter-effects. Each LFO modulates 2 channels and every channel has it's own depth controller which can be set positive or negative. This can be used to generate cool stereo effects.
The Waveshaper
The waveshaper is one of the components which give the filterbank it's unique sound. It actually is a wavefolder which "folds" the tops of the waveform back instead of clipping. This sounds a bit like an overdrive but also has some characteristics of Frequency Modulation.
To give you a better idea what the waveshaper actually does we'll illustrate what happens with a simple sine wave using different ratio settings for each of the two shaper modes.
SMS303's Ultra Rare Dutch
Tidal Quad Modular Filter
Only 15-20 are build
The Tidal Quad is a 4-channel filterbank with extensive control and modulation possibilities. The filter can be used in High-/ Low-/ or Bandpass with an Envelope follower for each mode. There is also an LFO for each set of 2 Channels which allows complex modulations. Additionally it offers a Waveshaper for each channel. For friends of analog distortion this unit leaves no wish open.
* 4x HP/BP/LP - Filtermodule
* LFO Channel 1+2 (Cutoff)
* LFO Channel 3+4 (Cutoff)
* LFO each channel positive or negative switch
* 1 Waveshaper per Channel
* 4x Sidechain Input with Envelope Follower for Cutoff-Modulation
The resonant filter might be the most important effect in popular music these days. However if you want to insert a filter on multiple channels of your mixer and also would like to have a lot of knobs and modulation possibilities, there was no real solution. That's why Tidal Music Electronics announces it's four channel desktop multimode filter. You can switch the four individual resonant filters between Lowpass, Bandpass and Highpass modus. Each filter can be modulated by an envelope follower, a LFO and an external CV. The envelope follower is specially designed to track percussive sounds without false triggering, a key feature when used with drumcomputers, grooveboxes or guitar.
Maximum Modulation:
Each filterbank has 4 VCFs, 4 Waveshapers, 4 Envelopefollowers and 2 Low Frequency Oscillators (LFOs). The filters are switchable between 3 modes, Lowpass, Bandpass and Highpass. The Low- and Bandpass are 24 dB and the Highpass is 12 dB/Oct. The cutoff of each channel can be modulated by it's own Envelope follower which can be fed by a sidechain input or by the audiosignal itself. This option gives you the possibilities to create very funky filter-effects. Each LFO modulates 2 channels and every channel has it's own depth controller which can be set positive or negative. This can be used to generate cool stereo effects.
The Waveshaper
The waveshaper is one of the components which give the filterbank it's unique sound. It actually is a wavefolder which "folds" the tops of the waveform back instead of clipping. This sounds a bit like an overdrive but also has some characteristics of Frequency Modulation.
To give you a better idea what the waveshaper actually does we'll illustrate what happens with a simple sine wave using different ratio settings for each of the two shaper modes.
Closeup of the parts in the box, including my homebrew Pulse-Width Modulation controller. It didn't work as well as I had hoped. The idea was to give full current to the motor, but with pulses so that it didn't start too quickly and lift itself off the track. In theory, it would have given me quite an edge over the rheostat type controllers that are normally used.
Manchester Cathedral.
St Mary Window, 1980.
By Antony Hollaway (1928-2000).
In 1963 the stained glass designer and craftsman Tony Hollaway was introduced to the Manchester architect, Harry Fairhurst. Eight years later, after they had worked together on commissions in Cheshire and Liverpool, Fairhurst sought Tony's advice about a plan for five large stained-glass windows in Manchester Cathedral.
Thus was Tony asked to design and make the first window, the St George in the inner south-west aisle. It was completed in 1973. Further windows followed in 1976 and 1980 and the final window, Revelation was installed in 1995.
Detail: The St Mary Window. Designed by Antony Hollaway, 1980. (This is in the Tower.)
The circle, which dominates the window, is the ancient Christian symbol of perfection. It is marred by the death of Jesus in the form of a shart of leight or the sword. This is a direct reference to the prohecy of Simeon to the Blessed Virgin at the time of the Presentation of Jesus in the Temple. (“A sword shall piee through your own Soul also”. Luke 2: 35).
This destoryed the perfection of the circle which is compensated for visually the the arcs of red and yellow. “And there appeared a great wonder in Heaven: a women clother with the sun, the moon under her feet …” (Revelation 12:1). These radii restore the symmetry required for formal and design purposes.
These are seven shades of blue within the circle, blue being a colour traditionally associated with St Mary the Virgin. The circle contains a serpent. This is a multiple image best understood under the following headings:
The circle placed upon these blocks of colour are letter forms both upper and lower case which are essentially to create a pattern. However, they may be re-assembled to read verses from the Magnificate: left to right. The act of re-assembling the letters is intended to concentrate the mine on the text which would not necessarily result from ‘easy reading’.
The above details are intended to present:
1. A suitable light modulation for this part of the building.
2. A relationship with the two adjoining windows.
3. A monumentality and dignity appropriate to the Architecture and to the special place of this window in the Scheme, and of the Virgin Mary among the Patron Saints of the Cathedral.
All the teaching elements of the window are subordinate to the formal design requirements expressed in (3).
In the future, we'll be able to harness wormholes using these huge devices, and travel to anywhere. Digital illustration by Seamoon...
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
Teisipäev, 14. aprill kell 19.30 ja 21.00
Kanuti Gildi SAAL (Pikk 20)
Pilet 10/7 eelmüügist, 12/7 enne kontserti
KAVAS:
“Rhythmus 21” (1921): Video Hans Richter, muusika Ove-Kuth Kadak (2015, esiettekanne) … 3’10”
“(üle)küllus” (2015, esiettekanne): Muusika ja video Aljona Kastjušina … 7’
“Controcorrente” (2012, Eesti esiettekanne): Muusika ja video Ivan Penov … 7’30″
“Phase Walk” (2015, esiettekanne): Henri Georg Viies … u 7’
“Cross modulation” (2015, esiettekanne): Muusika Ekke Västrik … 7’
“Ghosts and Whispers” (2014, Eesti esiettekanne): Muusika ja video Damiano Marconi … 6’30″
“Merkin” (2015, esiettekanne): Hendrik Tammjärv … u 7’
“Seppie senz’ossa” (2013, Eesti esiettekanne): Video Paolo Pachini, muusika Roberto Doati … 10’
“Rhythmus 21” (1921): Video Hans Richter, muusika Giovanni Tancredi (2015, esiettekanne) … 3’10”
Audiovisuaalsed kompositsioonid, versioon 1.2: visuaalne väljendus muusikalise mõtte laiendusena.
Eesti Muusika- ja Teatriakadeemia kompositsiooniosakonna audiovisuaalse kompositsiooni kontsert toob kokku selle valdkonna ajaloo olulise repertuaari ja EMTA audiovisuaalse kompositsiooni tudengite loomingu. Sel aastal esitleb EMTA muuhulgas rahvusvaheliselt tuntud heliloojate Paolo Pachini ja Roberto Doati audiovisuaalse kompositsiooni “Seppie senz’ossa” (2013) Eesti esiettekannet.
Kontserdi kunstiline juht on Paolo Girol.
Kestus: umbes 1 tund.
Saadaval piiratud hulk pileteid (kontsert kantakse ette kaks korda, igal kontserdil ainult 50 istekohta patjadel). Hilinejaid sisse ei lubata!
Koostöös Eesti Muusika- ja Teatriakadeemia kompositsiooniosakonna ja festivaliga “Saksa kevad”
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 ]
My 1/35 scale AFV Club Stryker M1126 8X8 infantry combat vehicle is done! Much to my surprise, this kit went together with only a couple minimal fit issues, self induced! I had expected it to be a bit on the iffy side as the kit has been in my stash for many years now, and older kits tend to be less engineered than recent ones, but it turned out to be an enjoyable build.
I decided to to it as a vehicle that has been in the field for a while during the summer, perhaps on maneuvers in a training facility, so the weathering is not that heavy. I did use burnt sienna oils with mineral spirits (my first use of this thinner with oils as I usually use the less odorous Turpenol) to do some of the filtering and dirtying but the majority of the modulation is done using the usual black undercoat with white accent under main color coat method.
I also used a very light coat of Tamiya buff thinned way down and sprayed on at a foot or so from the model to create a light dusty look as well. That especially worked well on the tires, which are vinyl mounted to plastic hubs (really nicely detailed tires I might add). I did do some panel accenting with Tamiya Black Panel Liner around the raised hull elements. I sanded the tire treads to make them look worn which really brought out that detail, in my opinion.
The decals went on quite easily and released from their carrier sheet with little to no time needed, not like the previous couple of kits i have worked on…a very delightful development! I did use the Micro Set and Sol method to embed them, but the vehicle numbers all silvered on me (think I should have used more gloss under them to relieve this issue). I am still ok with that as you can always weather to compensate after the fact. Prior to weathering, everything was clear coated with Testor’s Dull Coat…still my favorite flat coat.
For once I have few criticisms of the kit and am delighted to add it to my ever growing shelf of diverse armor builds. Definitely a fun build!