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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).
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 ]
In the future, we'll be able to harness wormholes using these huge devices, and travel to anywhere. Digital illustration by Seamoon...
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.
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 ]
We designed our buffers clean up your sound and allow the maximum tone from your pickups and cables to your amp. Low output impedance can send the signal through long cables without losing response and top frequencies. Not operable with battery.
PCM bays to the left. The programme entered the site as PCM (Pulse-Code Modulation) via Carlisle link, and was decoded and fed into the transmitter drives.
Dolby demonstrated publicly for the first time its recently announced Dolby PRM-4200 Professional Reference Monitor. The world's first LCD-based video reference display that accurately reveals true and deep black levels with higher contrast across the entire color spectrum provides an unprecedented luminance range and level.
Scheduled for availability later this year, the 42-inch monitor was specifically designed for professionals who rely on the most accurate measurement tools for color-critical work. It uses a backlight comprised of red, green, and blue LEDs that are modulated individually on a frame-by-frame basis. The LCD panel is also modulated in real time as part of the dual-modulation process.
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 ]
about 0 to 100% duty cycle, up to 4kW (if used with not included heat-sinks), about 28kHz pulse width modulation frequency (PWM)
Stereo Viewer for all my photos: jongames.com/stereophoto/
Here, we've pretty much settled on curve of intensity change, but we wanted to see what it would look like where all the LEDs are always on at a low level, but pulsing to higher intensity.
This is all being done with pulse width modulation and an arduino.
Next step, more LEDs, brighter, with a wider view angle.
The layering corresponds to Milankovitch cycle
Graham P. Weedon:
"The 21 000 year (21 ka) precession cycle was detected in all three cases, the 100 ka eccentricity cycle in two cases and the 41 ka obliquity cycle in one. Filtering revealed that the supposed 21 ka sedimentary cycles are grouped into packets of four or five small and large amplitude cycles. The packets reflect the 100 ka modulation of the 21 ka precession cycle. Local disruption of the packaging can be used to locate hiatuses in pelagic strata."
source: jgs.lyellcollection.org/cgi/content/abstract/ 146/1/133
From Minas Gerais in Brazil comes this 4" wide specimen of optical calcite placed upon a reflective CD-R disc. A green laser beam is directed through the crystal in the direction shown by the arrow. Green laser light is scattered as it enters and exits the calcite. Within the calcite the laser beam stimulates red fluorescence likely due to manganese impurities.
The photo was taken through red laser goggles acting as a high Q magenta (green rejection) notch filter.
Contains:
Calcite (FL Orange Red >Green Laser) Act: Mn?
Shown under green laser light.
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Backpanel: fuses.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
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 south side of the hotel from the pool and lounge area located in the center of the hotel.
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: 3072H X 2304W 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: WB2010-0273 Concha.JPG
Record ID: WB2010-0273
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
about 0 to 100% duty cycle, up to 4kW (if used with not included heat-sinks), about 28kHz pulse width modulation frequency (PWM)
Stereo Viewer for all my photos: jongames.com/stereophoto/
My first QSL card from outside the United States. Hector lives in Cienfuegos, Cuba, 1149 miles from my location in Louisville, Kentucky.
QSO: www.flickr.com/photos/jmschneid/8556896541
Current callsign is KB4BB
Sarah Perkins | Springfield MO
"Pierced Container" (2010)
Sterling, copper, enamel
As a maker of hollowware, I use properties of the metal: the plasticity, the permanence and the dimensionality. As an enameler, I use properties of the glass: the preciousness, the surface qualities and the color. In my work these properties function together to make a whole, with the two materials complementing and completing each other, rather than one being visually more important than the other.
My work reflects my emotional response to my environment, often referring to landscape, body part or natural object. Some of the forms are based directly on plants, fruits, rock formations and other natural objects. The colors and enamel imagery are derived from natural objects as well because I find the natural modulations of color, texture and surface very appealing and very intimate.
Dimensions: 20" wide X 10" tall X 12" deep.
Uses standard 1/4" jacks for audio out and patch panel.
Monophonic, with low-pass filter, envelope (HADSR) controls, LFO, pitch width modulation, white and pink noise generation, and external signal in jack.
About the Korg MS-10:
Además de abreviación para Bogotá, bta es:
BlueTooth Address
Bluetooth is a wireless protocol for exchanging data over short distances from fixed and mobile devices, creating personal area networks (PANs). It was originally conceived as a wireless alternative to RS232 data cables. It can connect several devices, overcoming problems of synchronization.
Bluetooth uses a radio technology called frequency-hopping spread spectrum, which chops up the data being sent and transmits chunks of it on up to 79 frequencies. In its basic mode, the modulation is Gaussian frequency-shift keying (GFSK). It can achieve a gross data rate of 1 Mb/s. Bluetooth provides a way to connect and exchange information between devices such as mobile phones, telephones, laptops, personal computers, printers, Global Positioning System (GPS) receivers, digital cameras, and video game consoles through a secure, globally unlicensed Industrial, Scientific, and Medical (ISM) 2.4 GHz short-range radio frequency bandwidth. The Bluetooth specifications are developed and licensed by the Bluetooth Special Interest Group (SIG). The Bluetooth SIG consists of companies in the areas of telecommunication, computing, networking, and consumer electronics
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
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 exhibited a well-defined sheath and was not motile. This filament represents the majority of Cyanobacterial filaments found at this site at this date. 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 rope & pulley prototype set up at ITP for a user testing session. When my right side faces the computer, pulling the rope towards my body triggers a note on the MIDI synthesizer. Pulling the rope with increasing speed increases the volume of the note as well as a sound modulating parameter. Decreasing the pulley's speed decreases the volume and modulation parameter. When the pulley stops rotating, the system turns off the note on the synthesizer.
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
Headset (HS02) assembly showing placement of Tx coil interface about the left eye. The Class-AB coil driver is controlled via a 50MHz Direct Digital Synthesizer DDS that includes high speed Frequency and Phase modulation control of telemetry data. The headset Virtex6 FPGA controls the DDS class-AB coil driver.
With most of their adversaries crippled, writhing on the ground, the Doctor calls out to Lady Gaga.
Doctor: 'Grab Zandar, Gaga! Now is a good time to leave!'
The Doctor's companion does just that, grabbing Zandar off the chair and helping him out the door, right behind Copperhead and Eels. The pair of Cobras stop outside the room and look up to find the Doctor standing before them.
Doctor: 'Now might be a good to for you to leave as well.'
Copperhead and Eels look at each other, then run! The Doctor motions to Lady Gaga.
Doctor: 'Come on, Gaga. The shock from the cerebro-pulse won't last much longer! Pond should have things set up for us outside.'
Zandar: 'Cerebro-pulse?'
Lady Gaga looks at the Doctor who motions for his companion to offer an explanation.
Lady Gaga: 'It is a beam triggered by the Doctor's sonic screwdriver...'
The Doctor interrupts, flustered.
Doctor: 'Not a beam, Gaga. An ultrasonic frequency that alters the rhythmic cerebro-modulation of those under the influence of a cerebro-shell. It causes the sensation of pain and creates a numbness in the lower half of the body, but there is no actual damage to the recipient. The pain is imagined as opposed to inflicted.'
Lady Gaga rolls her eyes.
Lady Gaga: 'Is there a difference?'
Doctor: 'Yes, of course there's a difference! Now, we'd best move! Pond awaits!'
With an array of hardware controls, MPK Mini lets you record, compose, and perform with virtual instruments, effect plugins, and DAWs whenever inspiration strikes. It features 25 velocity-sensitive synth-action keys, a 4-way thumbstick for dynamic pitch and modulation manipulation, 8 backlit velocity-sensitive MPC-style pads, and 8 assignable Q-Link knobs. Plus, two banks expand the number of MPC-style pads to 16 for extended creative capabilities.
More Info / Available here:
www.recordcase.de/en/AKAI+Professional+MPK+Mini.htm?pid=G...
Garland Fielder 'White Cube', 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
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.
All rights reserved.
This parade instalation was desgned & produced by the e Institute for Aesthetic Modulation, is a sub-group of Collective:Unconscious. IFAM has produced work in installation art and visual theater since 1993 at such venues as Theater for the New City, Here, The Knitting Factory, Exit Art, La Plaza Cultural, The 6B Garden, The Coney Island Mermaid Parade, The Pyramid Club, and Mustard.
Collective: Unconscious is a confederation of artists working in the visual and performing arts, founded in early 1995 in the Lower East Side of New York City. www.ifam.net/
June 23, 2007
Founded in 1983 by Coney Island USA, the Mermaid Parade celebrates the sand, sea, salt air and the beginning of summer. Participants dress in hand-made costumes as mermaids, Neptunes, various sea creatures, and the occasional wandering lighthouse. Each year, a celebrity King Neptune and Queen Mermaid rule over the proceedings, riding in the parade and assisting in the opening of the Ocean for the summer swimming season. Attending celebrities in the past have included David Byrne, Queen Latifah, Ron Kuby, Curtis Sliwa, Moby and Theo. The Parade is followed by the Mermaid Parade Ball
For more Mermaid Parade and Coney Island images see www.flickr.com/photos/artedelares/sets/72157600584117640/ and www.flickr.com/photos/artedelares/sets/888721/
Garland Fielder 'White Cube', 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
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.