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Sneak in a discussion topic! - (This is a fake add, for you caption readers). I want to tell you about an exciting new technology I just came across this morning and had to put in this presentation. Virtual Worlds are growing in interest, but for those involved, you know that the requirements of high end PCs and fast networks are limiting factors. Skyworlds is going to change all of that. Through a revolutionary development in fractal frequency modulation and S2 scalable data store housing, you will be able to move seamlessly between virtial worlds on a PC and on any mobile device.
Okay- let’s say this has just come across your attention screen. How to do react to a new technology? What do you do? What is your approach?
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.
For Handmade Music Austin #5 (Feb 28), the Space Baby Modulated Digital Delay:
- Controls for delay, feedback, delay-modulation, and ring-modulation
- Beat-syncs wirelessly through IR to other Andromeda Space Rocker devices from Eric Archer, 4ms, and Bleep Labs
- Lo-fi 12 bit / 14 Khz analog/digital conversion for mellow echoes
A filamentous alga. Cells and chloroplasts are clearly visible inside the cell walls. Photomicrograph taken with a Coolpix 885 at 3x zoom, using an Olympus microscope equipped with Hoffman Modulation Contrast optics, oil immersion at 1,000x magnification. Algae are Eukaryotes and probably first appeared in the order of 1.5-billion years ago.
A simple sinewave, synthesised on the Arduino by using the PWM (pulse-width modulation) facility. Same Y scale as the photo of the filtered PWM signal, but a much slower timebase. Fuzziness of the signal is due to residual, un-filtered-out, PWM signal at 31.25kHz.
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0014
Pelavin Gallery is proud to announce a solo exhibition of recent work by American artist, Kate Beck. This show will include large scale poured oil paintings and graphite drawings on aluminum panel. This will be Beck’s first solo exhibition at the gallery, and in New York City.
In this new body of work, Beck continues her engagement with repetitive tonal rendering as a means of interaction between light and shadow, human thought and consciousness, and the dynamic architectonics of space. This time she takes the essence of form further by using aluminum substrates, allowing modulating marks of graphite and poured oil to accumulate and shift amidst the confines of the geometric shapes. Tension oscillates between formalistic geometry and existential space; an allusion to thought and consciousness, and the passage of time.
For more information, please visit pelavingallery.com
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 ]
The Palatine Chapel, is the royal chapel of the Norman kings of Sicily situated on the first floor at the center of the Palazzo Reale in Palermo, southern Italy.
Commissioned by Roger II of Sicily in 1132 and built upon an older chapel (now the crypt) constructed around 1080.
The mosaics being only partially finished by 1143.
The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei.
Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas.
The three central figures, St. Gregory, St. Basil, St. John Chrysostom, allude to the Orthodox cult known as the Three Hierarchs, which originated fifty years earlier.
Roger II of Sicily depicted on the muqarnas ceiling in an Arabic style.
The rest of the mosaics, dated to the 1160s or the 1170s, is executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental.
The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and script adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross.
Muqarnas ceiling
The hundreds of facets were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Iraqi 'Abbasid art, these paintings are innovative in their more spatially aware representation of personages and of animals.
The chapel has been considered a union of a Byzantine church sanctuary and a Western basilica nave.
The sanctuary, is of an "Eastern" artistic nature, while the nave reflects "Western" influences.
Nave
The nave, constructed under Roger II, did not contain any Christian images.
These were added later by Roger II's successors, William I and William II.
The nave's ceiling consists of Greek, Latin and inscriptions.
The frame for the royal throne sets against the west wall of the nave.
There are six steps leading up to where the throne would be, along with two heraldic lions in two roundels upon the spandrels over the throne frame gabel.
Sanctuary
As an expression of Norman culture, St. Dionysius and St. Martin are represented in the sanctuary.
Mosaics are of Byzantine culture in their composition and subjects.
The apex of the dome consists of the Pantokrator, with rows of angels, prophets, evangelists and saints.
The Byzantine motif ends abruptly with scenes from Christ's life along the south wall of the southern transept arm, while the north wall consists of warrior saints
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 ]
1. IR LED is driven at DC (No modulation in this version)
2. A high-gain transimpedance amplifier converts the photocurrent to a voltage.
3. High-pass filter to strip out the DC component and get the audio only
4. Gain stage: non-inverting amplifier with 1/2 Vcc reference voltage
5. Another high-pass capacitor, to remove the DC reference voltage.
More on this project at:
ASYNCHRONOUS WIRELESS DATA LINK
There are some situations where the data from different sensors is to be monitored and transmitted to monitoring device or a PC. While at some environments the wire
can not be run from the sensor to the monitoring device. In these situations wireless transmissions would be more beneficial. Most of the sensor units need a less amount of data furthermore, transmitted baud rate required is also slow. Since this seems to be a simple data link the efficient alternative is ‘WIRELESS ASYNCHRONOUS DATA LINK’(LOW SPEED). Not only the above industrial application but also the same idea can be implemented for point to point connection of computers in a
workplace or building. This project is expected to yield a Schmart PCB module; which would find applications in many areas. The goal of the project design is simple and easy to implement. Asynchronous
communication and RS232,--- ; since RS232 Interface is widely used and easily compatible /programmable with data terminal equipment, it’s been chosen the RS232 interface for the serial communication of data between DTE and DCE. The signals emanating from the RS232 have been conditioned by Encoder; Then after it needs to be fed to the UHF Transmitter on a single chip. Transmitter employs ASK Modulation and the frequency for transmission is 433.92MHz.
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 my version of the Tellun Neural Agonizer, a maxed out version of a reverb unit. It drives and controls 2 reverb tanks, and adds quite a few controls and alternative modulations to the mix. The front panel is from the Bridechamber.
Airbrushed various Alclads onto the tripod after polishing the helmet (hohoho).
I thought I'd try colour modulation for the first time on the tanks. Looks crazy now but it should tone down nicely.
Specification:
‧ Tracks up to 32 satellites
‧ Receiver : L1, 1575.42 MHz
‧ C/A code:1.023 MHz
‧ Update rate : 1 HZ.
‧ Antenna type : Built in patch antenna
‧ Minimum signal tracked : -159dBm
‧ Dimension : 67 × 23 × 16 mm.
‧ Weight : 30g.
‧ On/Off switch : slide switcher
‧ Lithium-ion battery lasts for 23 hours of use
‧ Operation temperature : -10 ℃ to + 60 ℃
‧ Store temperature : -20 ℃ to + 60 ℃
‧ Store temperature : -30 ℃ to + 80 ℃ (Without Lithium-ion battery )
‧ Operation humidity : 5% to 95% no condensing
Position:
‧ Non DGPS (Differential GPS)：
‧ Position : 3.0 m CEP without SA
‧ Velocity : 0.1m. / sec2
‧ Time : 0.1 microsecond. sync GPS time
‧ DGPS(RTCM/EGNOS/WAAS/MSAS)：
‧ Position : < 2.2 m., horizontal 95 % of time < 5 m., vertical 95 % of time
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Acquisition Time:
‧ Reacquisition < 0.1 sec. Average
‧ Hot start 1 sec.
‧ Warm start 33 sec
‧ Cold start 36 sec.
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Protocol & Interface:
‧ Compatible with Bluetooth devices with Serial Port Profile (SPP)
‧ Bluetooth version 1.2 compliant
‧ Bluetooth Class 2 operation (up to 10 meters range in open space)
‧ Frequency : 2.400 to 2.480 GHz
‧ Modulation: FHSS / GFSK
‧ RF channels: 79
‧ Input sensitivity: -85dBm
‧ Output level: +2dB
‧ Output terminal: Mini-USB (CMOS Level)
‧ NMEA protocol output : V 3.01
‧ Baud rate : 38400 bps
‧ Data bit : 8
‧ Parity : N
‧ Stop bit : 1
‧ Output format :
Standard : GPGGA (1time/1 sec), GPGSA (1 time/5 sec.), GPGSV (1time /5 sec.), GPRMC (1time /1 sec.), GPVTG (1 time/1 sec).
‧ Optional : GLL, or MTK NMEA Command.
Dynamic Conditions:
‧ Altitude :Max 18,000 m ( 60,000 feet )
‧ Velocity : Max 515 m./sec ( 1000 knots )
‧ Acceleration : Max 4G
‧ Jerk : 20 m/ second3, max.
3 Led Function:
‧ Bluetooth , navigation update and battery/charger status Indication
The Minilogue. There's still a couple of knobs I haven't got the hang of yet. Cross-modulation depth? Ring modulation?
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
We produce this model as “Pick-up Activator” FET design preamp for bass guitar, under “Alen Geere”, our other brand. This is electric guitar version that boost the signal +5dB at maximum volume level. It has improved tone control and a switch for boost/cut between 200-800 Hz of frequencies. This option bring all humbucker-loaded guitars to standard “Tele” side an incredible way. High input and low output impedances are ideal for driving long cables. It’s also suitable with bass.
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 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 ]
Camera Axe and supplementary electronics now all installed though alignment and much tidying remains to be done. Sensitivity with the opamp-based ac-coupled amplifier and diode peak-to-peak detector is remarkable. The camera is reliably triggered by a piece of wire about 0.3mm in diameter at 50cms. The small changes to the shutter mechanism - a larger diameter (8mm) thinner (1.5mm) and stronger magnet (N52) combined with moving the pivot point of the armature closer to the coil) have resulted in open times of ~5mS. Closing times are little longer. I hope to improve these using a highly elastic "bumper". The supplementary electronics to enable the Camera Axe to control the rig are; the amplifier mentioned above, a 555 timer-based power supply that enables the modulation of the 3.2V 980nm laser at about 5kHz, and a MosFet-based switch that gates the power to the shutter coil. Despite being a 3.2V device, the laser is currently driven by 5.8V pulses. This may or may not kill the laser. At ~50% duty cycle, and driven at a frequency at which the electronics in the laser module never reach full power, may mean this is OK ..... or not! We will see.
Ion introduced the iDiscovery keyboard for the iPhone at CES 2010.
The iDiscovery iPhone keyboard features pitch and modulation wheels and variety of other controls which interface directly with the keyboard tutor application the board is designed to operate with.
No word on how this may or may not work with other apps - but this could be cool.
Pricing is TBA.
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
He was given the nickname "Beardyman" because a name was quickly needed for a flyer for an early show, and he had a beard at the time.As well as accomplished solo beatboxing, Beardyman was inspired by MC Xander to use music technology such as the Korg Kaoss Pad 3 in order to loop and sample his vocals. Through his use of looping tools he effectively produces whole DJ sets where the records are constructed live from his vocalisations, as well as live production of original material.His music frequently contains elements of drum and bass, dubstep, breakbeat, trance, techno and other associated forms of electronic dance music. He also incorporates other forms of music into his live sets, including but not limited to reggae and country music, often purely for the purpose of providing a comedic counterpoint to his beatboxing. Virtually all of his music is created using his only his vocal chords to produce sounds, and incorporating music technology such as vocoders and software synthesis to alter the pitch of his voice, or to add various kinds of audio effects such as delays, reverbs or modulation effects. In various YouTube videos various pieces of electronic equipment can be spotted, notably the Korg Kaossilator Pro, the Kaoss Pad 3 (also known as the KP3), a Korg Wavedrum, a microKORG, a Boss GT-8 and a Boss RC-50.As of 2012 he has foregone the usage of Kaoss Pads in favour of proprietary software he has been developing, currently known as the Beardytron 5000 MkII. "Over the past 3 years I have worked tirelessly on the system, overseeing its development and testing, improving and configuring it. I had no choice really, as the shows I want to do are simply not possible using any existing off the shelf gear, existing software or even cobbled together patches using freeware. The system is essentially my life's work and will continue to be what i use for all my future endeavours. The Beardytron 5000 mkII is a work in progress and at some point you'll be able to buy some form of looper/production-system based on the innovations developed to make my shows possible. We've had to invent new paradigms in interface design to make it possible to control this many parameters at one time and at speed, and that's despite using Turnado which takes care of a large proportion of that using its 'within-preset-morphing'; it still took many vastly different iterations of the looper's interface to find the perfect balance of speed, accuracy and controllability. And as for the looper itself, it can do things no other looper in the world can do, small but vital advances which are fundamental to allowing a complex and dynamic looping based live-production performance possible. The looper/VST-host is designed to operate in perfect harmony with the interface and as I have been using the system, I have developed many macro's within the system which have introduced many efficiency gains over the course of this past summer of gigs. As I refine the presets I use within Turnado and Guitar Rig, each of which is an instrument in itself, the system will get more complex, subtler and faster to use." Beardyman further states: "The system is built from the ground up in C++ and objective C by Dave Gamble of DMGAudio and employs 15 instances and counting of a partly bespoke version of Sugarbytes' incredible linear-8-way-morph-engine controlled multi-effect 'Turnado'. Guitar rig is also used along with Rob Papen's delay. The system is controlled using 2 ipads running bespoke programs using a specially developed high definition, self-reconnecting protocol."In a video posted on YouTube on 24 October 2012 Beardyman further explains the conception and use of his new gear.On 29 November 2012 Beardyman posted a live gig performed in October 2012 in Pune, India, which was the first live gig audio revealed online to solely use the Beardytron 5000 MkII. He has stated that the software for the Beardytron 5000 MkII will be available to purchase by the public sometime in 2014.Early lifeForeman was born to a Jewish family in Stanmore, North London. After studying at Queen Elizabeth's Grammar School for Boys, Barnet, Foreman moved to Brighton in 2001 to study at the University of Sussex. Although he started making noises at the age of three by imitating Michael Winslow from the Police Academy movie series, it was seeing Rahzel perform live that convinced Foreman that beatboxing could sustain a whole show rather than simply provide interludes within the context of a broader presentation. Beardyman’s first musical venture was composing a symphony for his school orchestra at the age of ten. At fifteen, an introduction to drum and bass led to his long-standing obsession with music technology.Beatbox championships and other awardsIn 2006 Beardyman battled to become UK Beatbox Champion and retained his title in 2007 making him the first beatboxer in UK history to win two championships in a row. He was on the 2008 judging panel.CollaboratorsHis interest in exploring new musical technology is also evident in the innovative Battlejam club nights he hosts with 2007 DMC champion turntablist JFB. Here the live looping technology is augmented with live sampling of the audience to make the hook of instantly composed tracks and even live video sampling and scratching.He has gigged and recorded with MC Klumzy Tung as part of MC/beatbox duo The Gobfathers. Together, they presented Get Lucky TV's 'The Freestyle Show” in 2005, and also appeared as traffic wardens in a hidden camera show for E4.In 2008 he collaborated with visual artist mr_hopkinson, to produce a video called 'Monkey Jazz' which visually describes the live looping process, which has had over 1 million views on YouTube. Since then they have worked together to produce various multi-camera videos of Beardyman's performances filmed at the Cube Microplex. Beardyman has also appeared on stage for improvised live shows with mr_hopkinson providing visual backdrops from images instantly searched from the internet in response to audience suggestions.Viral videosBeardyman often incorporates humour into his act. He has impersonated Elvis, dressed as a monkey on stage at Bestival and once posed as an Austrian climate change lecturer, "Professor Bernhard Steinerhoff", before breaking into his set, with over 1 million views on YouTube. He also features in the Funky Sage ring tones in which he plays a floating head who beatboxes and gives good advice. His video "Kitchen Diaries" which features him combining beatboxing with cooking has been viewed more than 4 million times on YouTube. "Kitchen Diaries" also makes an appearance in 'South Coast', a Brighton based documentary about Hip Hop in the UK.
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.
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 ]
[9:27] Quentin Morrisey leans in and whispers to Dazy.
[9:27] Bailey Dazy stands perfectly still.
[9:27] Saj Zenovka cocks his head
[9:27] Quentin Morrisey whispers without modulation "You're quite beautiful."
[9:28] Bailey Dazy blinks and her head jerks back. She says nothing.
[9:28] Quentin Morrisey: "Not a word to the others?"
[9:28] Bailey Dazy nods.
[9:29] Quentin Morrisey smiles and speaks again modulated. "I'm glad we have an understanding Miss Dazy."
[9:29] Q says OOCly: crotch gazer.
[9:29] (OOC) Dazy the Pink Wrath of Doom: stoooopit!
[9:29] Bailey Dazy nods and watches the bird until he's out of sight.
Specification:
‧ Tracks up to 32 satellites
‧ Receiver : L1, 1575.42 MHz
‧ C/A code:1.023 MHz
‧ Update rate : 1 HZ.
‧ Antenna type : Built in patch antenna
‧ Minimum signal tracked : -159dBm
‧ Dimension : 67 × 23 × 16 mm.
‧ Weight : 30g.
‧ On/Off switch : slide switcher
‧ Lithium-ion battery lasts for 23 hours of use
‧ Operation temperature : -10 ℃ to + 60 ℃
‧ Store temperature : -20 ℃ to + 60 ℃
‧ Store temperature : -30 ℃ to + 80 ℃ (Without Lithium-ion battery )
‧ Operation humidity : 5% to 95% no condensing
Position:
‧ Non DGPS (Differential GPS)：
‧ Position : 3.0 m CEP without SA
‧ Velocity : 0.1m. / sec2
‧ Time : 0.1 microsecond. sync GPS time
‧ DGPS(RTCM/EGNOS/WAAS/MSAS)：
‧ Position : < 2.2 m., horizontal 95 % of time < 5 m., vertical 95 % of time
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Acquisition Time:
‧ Reacquisition < 0.1 sec. Average
‧ Hot start 1 sec.
‧ Warm start 33 sec
‧ Cold start 36 sec.
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Protocol & Interface:
‧ Compatible with Bluetooth devices with Serial Port Profile (SPP)
‧ Bluetooth version 1.2 compliant
‧ Bluetooth Class 2 operation (up to 10 meters range in open space)
‧ Frequency : 2.400 to 2.480 GHz
‧ Modulation: FHSS / GFSK
‧ RF channels: 79
‧ Input sensitivity: -85dBm
‧ Output level: +2dB
‧ Output terminal: Mini-USB (CMOS Level)
‧ NMEA protocol output : V 3.01
‧ Baud rate : 38400 bps
‧ Data bit : 8
‧ Parity : N
‧ Stop bit : 1
‧ Output format :
Standard : GPGGA (1time/1 sec), GPGSA (1 time/5 sec.), GPGSV (1time /5 sec.), GPRMC (1time /1 sec.), GPVTG (1 time/1 sec).
‧ Optional : GLL, or MTK NMEA Command.
Dynamic Conditions:
‧ Altitude :Max 18,000 m ( 60,000 feet )
‧ Velocity : Max 515 m./sec ( 1000 knots )
‧ Acceleration : Max 4G
‧ Jerk : 20 m/ second3, max.
3 Led Function:
‧ Bluetooth , navigation update and battery/charger status Indication
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.
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.
Just arrived, Turner Super Sidekick. To replace my 30 year old Turner +3B.
Forget studio mikes, parametric and graphic equalizers or special (Heil) elements.
This is the only mike that gives true BBC quality modulation.
Interesting: www.ericbraun.com/turner/
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.
JW4103 optic talk setwith Red Light Source 60KM
Description
JW4103 Optical Talk Set is an intelligent and efficient instrument that combines in one set the functions of both a digital optical phone and a stabilized light source. It is widely used in operations of installation, optical testing, maintenance and fiber attenuation value testing in data network, CATV and Telecommunication network. The JW4103 Talk Set can carry out full-duplex communication with high quality connection and not be affected by distance.
Features:
Full-duplex digital communication with high quality conversation connection and low background noise
Together with Optical Clip-on Coupler, enables on line communications available
Combining functions of both a digital optical phone call and a stabilized light source
Large LCD display with backlight
Low battery power indication
Applications:
Maintenance in Telecom
Maintenance CATV
Test Lab of optical fibers
Other Fiber Optic Measurements
Specification:
Type
JW4103
Wavelength(nm)
1310/1550
Emitter Type
FP-LD
Transmission Distance
≥ 80km
Dynamic Range
40dB
Output Power
-5~-7dBm(9/125um), CW or 2KHz, 1KHz, 270Hz Modulation
Output Stabvlity
± 0.1dB/± 0.25dB(1/8hrs) CW
Power Supply
Rechargeable Battery + Power Supply Adaptor
Battery Operating Time
5 hours
Optical Connector
FC/PC
Operating Temperatrue(C)
-10 ~ +60
Storage Temperatrue(C)
-25 ~ +70
Dimension(mm)
215X115X55
Find Your Inspiration - Joseph
Every year, Joseph’s arrival was highly anticipated. He’s been a part of our gang every summer since he, Aviva, Zoe, and I met at the Spirit of the Mountains Camp 13 years ago. He’s allowed us to dress him up with feather boas and pig tails, he’s been on years of adventures with us singing loud, out of tune Disney songs (and just as enthusiastically joining in, but without the modulations). He's groggily answered 3 am phone calls about college essays and life questions. He has been there without fail since our first summer together. And since then he has always been a source of inspiration. This is because Joseph has an incredible power to give people hope. Before you stop reading because of how cliche that sentence sounded, let me explain: Do you ever put your headphones in, or turn up the volume of a song, because it evokes that indescribable emotion that you can't quite find anywhere else? It fills you up and makes the world that much more beautiful. That feeling is one of the reasons why music has remained such a large part of my life. It is the soundtrack I play in the back of my mind for every important, cheesy, and cliche moment. It’s the sound of my cowboy hat wearing dad playing Happy Trails as the flames of a camp fire start to die down. And since that first year of camp, Joseph has helped to make that sound. The other night, as we all sat in my living room passing around my father's guitar, Joseph added an inescapable beauty to the room. He squinted at Fleet Fox lyrics through Zoe’s broken iPod screen, harmonizing with her effortlessly while we loudly talked to him and each other. Joseph gives me the kind of hope and happiness that I find in music. I know this paragraph barely explains what he means to me, and I know I will never be able to thank him for this.
What I do know is that you will always be a part of my picture, Joseph.