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my intention with this photo was the show the beautiful tones that this super colorful image had, it was a huge mural and I tried to photograph it for what I saw
I think I did a great job with capturing the lines and shapes and great tones
For editing: I did some cleaning up. Sharpened and used noise reduction. Added black and white layer and Tuned to my liking in acr. and cropped
My reference is that duchemin said that Pulling the color from a scene allows the texture and tones to play in a stronger way than they do with the color present. he also said.
"Sure, you lose some of the mood but there’s a give and take in each decision. Knowing which to use, and when, comes as we learn to see in both color and black and white."
and freeman also said "Removing the quality of color from an image enhances its other qualities. With the modulation entirely in tone, the eye pays more attention to texture, line, and shape."
I used this for all my photos I tried to really focus of lines and texture as well as the tones and shapes.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
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?
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Envelope generated by direct PWM synthesis on an Arduino. The beginning of this envelope is a 32-step exponential attack and the end is a 64-step exponential decay. The envelope is pre-computed using a small C program on a Linux machine, then stored in 256 bytes of Flash memory (ROM) in the Arduino's processor.
Here's some spec's on this sweet system. It's a "Matrix" system, meaning that it has the ability to change all of it's routings on every preset.
Instead of being tied to one signal flow you can have any signal flow you want, when you want. Which is pretty handy for score music composer & guitar instrumental musician who has to constantly change the signal flow.
The switcher has a software interface that allows you to create an icon for each device and it's corresponding input(s) & Output(s), then using the mouse, connect the rig you want to have at that moment with no extra devices connected to the signal path for the cleanest path possible from pick ups to speakers.
A matrix switcher has 16x Inputs & 16x Outputs, so we decided to put 5 switchers in this system, connected them to each other & bunch of other cool gear. Each switcher has a "Group" responsibility:
1. "Master" - Magnetic & Piezo Inputs + 4x Amplifiers + 1 Axe FX ("Front End" of 4 Wire Config) + Multiple Connections to the other Switchers
2. "Harmonics" - Octave, Fuzz & Overdrive devices.
3. "Dynamics" - Compressors, EQ's Filters, Synthesizers.
4. "Modulations" - Chorus, Phaser, Flanger, UniVibe, & Tremolo.
5. "Time" - Delays & Reverbs + Axe FX ("Back End") for Reverb, Delay & Looper.
Any order & combination of series & parallel is possible, the possibilities for signal routings are only limited by the player's imagination...
Here's some spec's on this sweet system. It's a "Matrix" system, meaning that it has the ability to change all of it's routings on every preset.
Instead of being tied to one signal flow you can have any signal flow you want, when you want. Which is pretty handy for score music composer & guitar instrumental musician who has to constantly change the signal flow.
The switcher has a software interface that allows you to create an icon for each device and it's corresponding input(s) & Output(s), then using the mouse, connect the rig you want to have at that moment with no extra devices connected to the signal path for the cleanest path possible from pick ups to speakers.
A matrix switcher has 16x Inputs & 16x Outputs, so we decided to put 5 switchers in this system, connected them to each other & bunch of other cool gear. Each switcher has a "Group" responsibility:
1. "Master" - Magnetic & Piezo Inputs + 4x Amplifiers + 1 Axe FX ("Front End" of 4 Wire Config) + Multiple Connections to the other Switchers
2. "Harmonics" - Octave, Fuzz & Overdrive devices.
3. "Dynamics" - Compressors, EQ's Filters, Synthesizers.
4. "Modulations" - Chorus, Phaser, Flanger, UniVibe, & Tremolo.
5. "Time" - Delays & Reverbs + Axe FX ("Back End") for Reverb, Delay & Looper.
Any order & combination of series & parallel is possible, the possibilities for signal routings are only limited by the player's imagination...
Copyright by FrankBonn - Photographer ArtPictures © 2012 Contact via email: gamesearch.info@googlemail.com
Got it far enough along to be functional. Need to address some shifting issues related to the change in cassette.
Conversion performed by using wheels from Velo Orange built on Velocity rims and hubs plus a new SRAM 8-speed cassette to replace the old 7-speed RSX cassette. Also necessitated swapping out the short-reach brakes for some Tektro R556 "extra" long-reach brakes. Was a little worried about some reported flex in the arms, but with the pads about halfway down they seem adequate, even if they don't have the best modulation in the world. Put on some Col de la Vie tires that I had already from another project. Very comfortable, although the tread is a bit strange -- one imagines it's a little squirmy -- on good pavement. Eats up the potholes, expansion joints, and detritus of our battered New England urban roads nicely, though.
Hauraki’s Pirate Radio Transmission
By Peter McQuarrie and Ross Jowitt
The human interest story of Radio Hauraki has been told in a number of TV documentaries, radio programs and books. But until now very little has been written about the technical aspects of the pirate radio station and some of the information which has been given is incorrect.
For example, we are told that the Radio Hauraki transmitter was built from a VLF transmitter that had seen service on a US Navy submarine in WWII and that it had an output power of 500 Watts. But as we will show here, all of those things are incorrect. We will describe the transmitting equipment, its history, and give some of its technical specifications. The story does involve a Navy transmitter and that’s where we will begin.
US Navy TBL Transmitters
The TBL series was a US Navy design, manufactured by Westinghouse Electric for installation on submarines, cruisers and other ships requiring a medium-power transmitter. The TBL transmitters were constructed so as to be easily disassembled into three units, each small enough for easy passage through small openings into ships or submarines.
All units could fit through a hatch opening of 25 by 20 inches. There were several different versions of the TBL, designed primarily for ship-board installations and also available with power supply modules suitable for shore stations. The basic performance specifications were identical for all models; the differences were with the auxiliary units such as power supplies, remote control units, speech amplifiers etc. All TBL’s had two frequency bands, a LF/MF band of 175 – 600 kHz and an HF band of 2 – 18 MHz. There was no VLF band. The maximum output power was 200 Watts (CW), 100 Watts (MCW) and 50 Watts (AM), not 500 Watts as sometimes stated.
Radio Hauraki’s TBL Transmitter
The TBL used by Radio Hauraki as a basis for building their transmitter was a TBL-13 (Serial No: 2201). It was purchased from a surplus military equipment supplier in Ellerslie, for approximately 100 pounds ($200). The suffix 13 meant that it was suitable for British ships with 440-volt AC or 230-volt DC power and was supplied to America’s British allies under a lend-lease arrangement. This could explain how it arrived in New Zealand. It seems unlikely that it was ever installed in a US submarine.
During WWII, TBL-4 and TBL-5 transmitters were commonly installed on American vessels. In New Zealand the TBL-13 could have been used on a ship or at a shore station, or perhaps in aviation communications. It is also possible that it saw service as a MW NDB navigation beacon. To say that Radio Hauraki modified a TBL to make it into a broadcast transmitter would be a gross understatement. Hauraki’s director of engineering, Denis (Doc) O’Callahan, designed a completely new transmitter. Denis had started his career as a trainee engineer with the Electricity Department. He was an amateur radio operator with a real interest in radio and electronics and had moved to a job with Plessey, manufacturing radio transceivers. He built the new transmitter into the aluminium frame of the old TBL. Some of the TBL was salvaged and reused but most was discarded.
The Transmitter that Radio Hauraki Built
The original RF power amplifier which had used two 803 valves and produced 50 Watts was replaced with something much more powerful. Two parallel 833A power triodes in class C mode were used to produce a maximum carrier output of 2 kilowatts (usually run at 1.75kW by Radio Hauraki). To achieve this output the PA valves needed forced-air cooling and so suitable blowers with air ducting were installed. The TBL had been powered by a motor-generator that produced 2000 volts H.T. This was abandoned and a new 3-phase mains power supply, providing 3000 volts, was made. This used all solid-state rectifier diodes and suitable filter circuits. To apply adequate RF drive to the PA valves a 4-125A power tetrode valve was used. The variable capacitor in the antenna coupling and tuning circuit had been intended for the lower power of the original transmitter and tended to ‘arc-over’ on peak modulation. This occurred frequently when the song ‘Mellow Yellow’ by Donovan was played. A new capacitor was constructed with a larger air-gap between the plates.
Modulator & RF Power Amplifier
The original modulator had been an external speech amplifier unit driving a modulation transformer inside the transmitter. This transformer had modulated the carrier by varying a negative bias voltage applied to the suppressor grids of the PA valves. A completely new modulator was designed and constructed. For this another two 833A valves were used in class B, push-pull, driving a new modulation transformer made by the Auckland Transformer Company.
A new audio driver board was made for the new modulation system with two 6146 valves used as push-pull drivers. An audio level compression circuit was included to raise the average modulation level. This had the effect of improving the average signal/noise ratio of the received signal. A commercially made, Altec 436C compression amplifier was used. This provided automatic level control which had adjustable compression over a range from zero to 30dB. Apparently, Radio Hauraki was the first broadcaster in New Zealand to use audio compression, the down side of which was audio distortion if too much compression was applied. And at times listeners did notice distortion of Hauraki’s modulation.
One part of the original transmitter that was retained was the master oscillator (MO) VFO. This was a Colpitts oscillator with a variable inductor of the variometer type. The VFO was housed in a temperature-controlled box with vibration-proof mountings. Hauraki had decided on the frequency of 1480kHz for its transmission and so the frequency range of the VFO had to be extended to cover this. The frequency of 1480kHz had been decided on as it was higher than all known Australian and NZ broadcast stations and so could not cause interference to existing stations. One reason the VFO facility was kept instead of using a crystal-controlled oscillator, was because they were afraid that the NZ authorities might try to jam their signal and they needed to be able to change frequency. However, jamming never occurred and later the oscillator was converted to crystal control.
Eight of the original meters on the front panel were retained; these were for monitoring antenna current, PA anode current, PA grid current and 1st and 2nd buffer stages anode current. A further group of three meters near the bottom of the cabinet were moved higher up to make room for the new power supply. These meters were for PA anode volts, filament volts and MO anode volts. A number of high-voltage capacitors and RF chokes were also salvaged from the original transmitter and reused. The new transmitter was built in secret at the Hauraki premises in Anzac Avenue and tested in the basement of a house in Mt. Eden.
Antenna System
A vertical radiator, one-quarter wavelength or longer, is required for groundwave propagation for MW broadcasting. The small size of the ship, M.V. Tiri, was a constraint in constructing an antenna large enough but a good result was achieved by using a 30-metre-tall section of lattice mast, topped with a further 10 metres of telescopic whip. This came close to a quarter wavelength at the selected frequency of 1480kHz. Spreaders were fitted at the top of the lattice section which allowed for some “capacity top” to be added to increase the electrical length of the antenna system. Some series inductance was also added, as base loading. A vertical antenna of this length has a radiation resistance which is large compared with the losses in the system and so an acceptable antenna efficiency was obtained. Losses are caused by the resistive losses in the feeder cable, the antenna coupling coils and capacitors, the antenna, and the earth electrode. Both the Tiri and the Tiri II were wooden hulled ships so they could not take advantage of metal hulls which provide a large surface area with low resistance contact to the sea, a high degree of capacitive coupling and involve a large volume of seawater around the ship. This would have minimized the voltage gradients produced by the earth currents flowing near the ship. Radio Hauraki used a wire earth electrode over the side into the sea. It is estimated that the overall efficiency of the antenna system was around 60%.
At times the antenna was blown over during storms; it was completely destroyed at least once and needed to be rebuilt. So, its configuration changed slightly over time. To produce, install and maintain such an antenna on a small ship was really quite an achievement under the circumstances.
Coverage Area
The target coverage area was primarily Auckland City and suburbs and then the greater surrounding area. The main portion of the transmission path was therefore over seawater of the Hauraki Gulf and Auckland Harbour. The requirement was for groundwave propagation but of course at night there was also skywave produced, which sometimes took the signal over much greater distances. In the 1960’s, Radio Hauraki technicians did not have access to instruments which could accurately measure radiated power or field strengths. Favourable reception reports kept them informed about the strength of their transmission. We can however make some estimates using international standards for calculating groundwave field strengths (Rec. ITU-R P.368-7).
The minimum usable field strength standard for MF broadcast service in New Zealand is 66dBuV/m (day) and 74dBuV/m (night). If we accept that the radiated power from the Tiri’s antenna was 1kW at 1480kHz (60% of 1.75kW), this would have produced a daytime coverage area over seawater within a circle of 120km radius around the ship. For the higher nighttime requirement of 74dBuV/m the radius would have been 55km. The distance between the Tiri and downtown Auckland was 75km, where the received signal would have been 4dB higher than the minimum requirement. So, although there would have been good signal strength for day coverage over much of the greater Auckland area, there was little excess signal to provide a fading margin. (For those listening on car radios there was not enough signal strength to overcome the high level of noise interference when driving beneath trolley bus wires). The path over seawater extended down into the Firth of Thames, bringing reasonably strong groundwave signal on to the Hauraki Plains. The signal would have been quite a bit below the standard strength for good night time reception even in Auckland, but how well it was actually received at night would have depended on the receiving location and the degree to which the groundwave was affected by interfering skywaves, from Radio Hauraki’s own transmission and from other transmitters. Good reports of skywave reception were sent in from listeners in the South Island. Overall it was a valiant effort by Radio Hauraki. With NZ government bureaucrats against them and with limited resources available to them, they devised and constructed a transmission system that met their objectives. The transmitter was valve equipment operating on high voltages in a marine atmosphere, yet it worked well and was fairly reliable. Even after the Tiri sank and the transmitter was submerged in seawater, it was recovered and repaired and put back into service on Tiri II.
Acknowledgements
With many thanks to past Hauraki radio engineers: Denis O’Callahan and Chris Prouse and technician Stephen Hilliar.
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
Orange Juice Drive is in a classical RAT type circuit and sounding topolgy. We add extra switch for select between symmetric or asymmetric clipping. Not operable with battery.
Stafford Air & Space Museum
The Apollo survival kit provided 48 hours of survival supplies for the three-man crew. Displayed are the contents of one of two rucksacks.
Radio Beacon
The survival radio was a hand-held, dry-cell-battery-powered, electronic signal and voice communications device. The radio could be operated within the SC by using a connector cable to the SC antenna. A constant emergency-signal and voice-contact device was required to aid rescue teams if postlanding recovery was delayed. Voice reception increased from approximately 30 to 120 miles. Voice modulation improved and radio weight was reduced from 6 pounds to 4 pounds. Beacon range reception also increased to 120 nautical miles, for search aircraft operating at 10,000 feet.
Survival Blanket
Three pieces of nylon-Mylar material that are 60 by 42 inches are provided for the Apollo missions. The material could be used for thermal protection and for signal purposes.
Water Containers
Three water containers were included in the Apollo survival kit. A 1/4-inch-radius indention forming an "X" on each of the two largest sides of the water containers solved a deflection problem which occurred because of pressure differential. A few crewmen also stated that the aluminum caused the water to have an undesirable taste.
The spillway of the water reservoir "Lacul Morii" (Mill's Lake) was commissioned in 1986. The reservoir is the largest lake in Bucharest, with an area of 246 ha. It was built for flood protection and for flow modulation of Dambovita river. Making a lake near an urban area required decommissioning of existing uses, including demolition and decommissioning of a church.
Connected Vehicle SafetyCars that look out for each other
With a little warning, many traffic accidents can be avoided altogether. Enabling cars and scooters to communicate and work together may be the first step to avoid collisions and other incidents. To do this, fast and reliable communication amongst vehicles is critical, even on crowded city streets. Intel Labs, through the Intel Collaborative Research Institute for Connected Context Computing, is exploring visible light from tail lights to support high-speed data transmission over the short distances between vehicles. The technology uses direct modulation of LED tail lights to encode data in the visible spectrum, while maintaining a constant ambient lighting state. At almost no
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
White Sands Missile Range Museum
Telemetry is the science of measuring something in one place and reporting the results in another.
A simple example of telemetry is the automobile speedometer, which measures the wheels' rotation and presents it in miles per hour on the dashboard.
Most telemetry used in missile testing is Radio Frequency (RF) transmitted from a missile to a ground receiver. NASA uses telemetry to keep tabs on the functioning of space equipment. Telemetry has been one of the most important data sources used for testing at WSMR.
This telemetry package was discovered in an old missile assembly building in the mid-1980s. Shipping documents indicate that it was shipped to Douglas Aircraft Company at White Sands Proving Ground in 1956 and 1957.
These Commutator/ Transmitter sets are believed to have been utilized in the Honest John rocket.
Especially noteworthy is the fact that this Commutator was a motor driven, mechanical device and the VCO/Transmitter package used vacuum tubes. Today's packages are completely solid state.
How did this circa-1957 telemetry package work?
COMMUTATOR
Analog voltages representing a number of functions such as elevon, rudder and seeker head positions pressure, and battery voltages were sequentially sampled and converted to a voltage pulse temperature, train (commutated data) and sent to a VCO
VCO (Voltage Controlled Oscillator)
The voltage pulse train (commutated data) was used to drive a VCO to vary the oscillator's center frequency (called FM or frequency modulation)
TRANSMITTER
This FM (frequency modulated) signal from the VCO was then sent to a RF Transmitter (radio frequency amplifier) that transmitted the data through an onboard antenna to a ground station receiver
RECEIVER
The ground station received this transmitted data signal and sent it through an FM discriminator that changed the data signal back to a voltage pulse train.
DECOMMUTATOR
The decommutator converted the voltage pulse train data back to the original set of analog functions that were then recorded on media such as strip charts or analog tapes.
Attack, Decay, Sustain, Release envelope generated by direct PWM synthesis on an Arduino. The envelope is pre-computed using a small C program on a Linux machine, then stored in 256 bytes of Flash memory (ROM) in the Arduino's processor.
Image shows placement of a single front loaded primary transmit coil running across a 50MHz DDS (Direct-Digital-Synthesiser). The DDS includes full Freq-Phase modulation control for both power and data transfer. On-board circuitry also includes real time phase and magnitude monitoring of primary coil voltage and current waveforms allowing full monitoring of resulting transformer impedance and power coupling.
A single coil driver was included as a fallback option after requirements changes mandating direct wire galvanic coupling of signals into the eye via a percutaneous plug.
Advanced eye-tracking coil driver functions were subsequently removed from future designs with eye tracking then reverting to the use of mirrors and FPGA driven image segmentation ;-(
A pedal for aggressive, mid-gain, fuzz like clipping drive tone fans. High output capability can used for pushing an amplifier. It also acts as a clean boost, when drive knob is all the way down. Operable with battery.
Controls: Volume, Fine, Gain (6 position rotary switch)
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.
Dimensions: 20" wide X 10" tall X 12" deep.
Uses standard 1/4" jacks for audio out and patch panel.
Monophonic, with low-pass filter, envelope (HADSR) controls, LFO, pitch width modulation, white and pink noise generation, and external signal in jack.
About the Korg MS-10:
Another view from our studio. We used RSF synth and the modular system : (x3) Exp I ; (x2) Exp II ; (x2) Programmer ; (x1) KM-8 mixer.
Music :
soundcloud.com/nightbirds-electronic
soundcloud.com/nightbirds-past-records
Vidéo :
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Video here: www.youtube.com/watch?v=XrHkvvtrXhA
The Crazy Looper is a small handmade device that allows you the create real-time noise loops with a fast modulation metallic effect.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
This is a tremolo that we have designed as standard sounding with LFO. Transparent and in sinusodial wave form. Extra led indicates LFO's speed. Not operable with battery.Controls: Depth, Rate--SOLD--
Dimensions: 20" wide X 10" tall X 12" deep.
Uses standard 1/4" jacks for audio out and patch panel.
Monophonic, with low-pass filter, envelope (HADSR) controls, LFO, pitch width modulation, white and pink noise generation, and external signal in jack.
About the Korg MS-10:
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
Having fun with my new Strobist gear. Decided to take this interesting older radio out of the cabinet and see what I could do.
Strobist info:
Canon EOS 40D, Canon EF 70-200mm f/2.8L USM, 13mm extension tube
1/250, f/8, ISO 100
Canon Speedlite 430EX @ 1/64, 105mm camera right
Canon Speedlite 430EX II @ 1/64, 24mm behind radio
20" silver reflector camera left
Flashes fired via CyberSync triggers
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.
Here's some spec's on this sweet system. It's a "Matrix" system, meaning that it has the ability to change all of it's routings on every preset.
Instead of being tied to one signal flow you can have any signal flow you want, when you want. Which is pretty handy for score music composer & guitar instrumental musician who has to constantly change the signal flow.
The switcher has a software interface that allows you to create an icon for each device and it's corresponding input(s) & Output(s), then using the mouse, connect the rig you want to have at that moment with no extra devices connected to the signal path for the cleanest path possible from pick ups to speakers.
A matrix switcher has 16x Inputs & 16x Outputs, so we decided to put 5 switchers in this system, connected them to each other & bunch of other cool gear. Each switcher has a "Group" responsibility:
1. "Master" - Magnetic & Piezo Inputs + 4x Amplifiers + 1 Axe FX ("Front End" of 4 Wire Config) + Multiple Connections to the other Switchers
2. "Harmonics" - Octave, Fuzz & Overdrive devices.
3. "Dynamics" - Compressors, EQ's Filters, Synthesizers.
4. "Modulations" - Chorus, Phaser, Flanger, UniVibe, & Tremolo.
5. "Time" - Delays & Reverbs + Axe FX ("Back End") for Reverb, Delay & Looper.
Any order & combination of series & parallel is possible, the possibilities for signal routings are only limited by the player's imagination...
In the afternoon of 15 April 2009, the Moon-1 Humvee Rover encountered a snow-covered lead (opening in the sea-ice exposing liquid water) at 68o15.573’N, 108o52.820’W which caused the vehicle to sink through slush and become immobilized. The Northwest Passage Drive Expedition team succeeded in rescuing the vehicle using the Moon-1’s powerful front winch, ice anchors, and the Humvee’s unique break throttle modulation (BTM) torque transfer capability. The Expedition continued that day and reached Campsite Five at the western tip of Kent Peninsula (68o36.820’N, 108o19.409’W) in the evening, achieving a distance traversed that day of 97 km and a total distance traversed from Kugluktuk of 336 km.
(Photo Mars Institute/Haughton-Mars Project/J. Schutt)
Highlights from NPR (Neighborhood Public Radio) at MOCA's Engagment Party. "IN YOUR CAR" Day 2 of 3
While MOCA generally encourages green transportation, NPR asks that visitors bring their cars to this event. FREE parking will be available in public lot 7; entry is accessible from Judge John Aiso Street.
In Your Car will feature two concurrent sound projects broadcasting on local frequencies, Park Park Revolution and Ping Modulation.
Park Park Revolution will be a composition “played” by cars parked in the lot surrounding the Geffen Contemporary. NPR will divide the Geffen lot into four sections, with each assigned to its own broadcast frequency. Directed into parking spaces, drivers will be instructed to tune in their radios and turn up their volumes to create a quadraphonic matrix of sound.
Under the canopy located at the Geffen entrance, Ping Modulation will pay homage to artist Robert Rauschenberg’s Open Score. For this project, NPR will outfit ping-pong tables with contact microphones and sound processors; as visitors match off in games of table tennis, the noise of their play will be fed to radio broadcasts that will transform their participation into sound art.
Published on May 2, 2011
by MOCA
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Dub~STEP~ARCADE
a cross between a dub siren and atari punk console with A/D gen and LFO modulation
KITS NOW AVAILABLE
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
With the EBS UniChorus you can choose between low noise studio quality Chorus, Flange and Pitch Modulation effects. Analog Processing
The pedal is built with the best analog processing circuitry. This gives a smoother, warmer and fatter sounding chorus/flange effect, useful both for live and studio performances.