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SMS303's Ultra Rare Dutch
Tidal Quad Modular Filter
Only 15-20 are build
Back rear controls, in-outputs
The Tidal Quad is a 4-channel filterbank with extensive control and modulation possibilities. The filter can be used in High-/ Low-/ or Bandpass with an Envelope follower for each mode. There is also an LFO for each set of 2 Channels which allows complex modulations. Additionally it offers a Waveshaper for each channel. For friends of analog distortion this unit leaves no wish open.
* 4x HP/BP/LP - Filtermodule
* LFO Channel 1+2 (Cutoff)
* LFO Channel 3+4 (Cutoff)
* LFO each channel positive or negative switch
* 1 Waveshaper per Channel
* 4x Sidechain Input with Envelope Follower for Cutoff-Modulation
The resonant filter might be the most important effect in popular music these days. However if you want to insert a filter on multiple channels of your mixer and also would like to have a lot of knobs and modulation possibilities, there was no real solution. That's why Tidal Music Electronics announces it's four channel desktop multimode filter. You can switch the four individual resonant filters between Lowpass, Bandpass and Highpass modus. Each filter can be modulated by an envelope follower, a LFO and an external CV. The envelope follower is specially designed to track percussive sounds without false triggering, a key feature when used with drumcomputers, grooveboxes or guitar.
Maximum Modulation:
Each filterbank has 4 VCFs, 4 Waveshapers, 4 Envelopefollowers and 2 Low Frequency Oscillators (LFOs). The filters are switchable between 3 modes, Lowpass, Bandpass and Highpass. The Low- and Bandpass are 24 dB and the Highpass is 12 dB/Oct. The cutoff of each channel can be modulated by it's own Envelope follower which can be fed by a sidechain input or by the audiosignal itself. This option gives you the possibilities to create very funky filter-effects. Each LFO modulates 2 channels and every channel has it's own depth controller which can be set positive or negative. This can be used to generate cool stereo effects.
The Waveshaper
The waveshaper is one of the components which give the filterbank it's unique sound. It actually is a wavefolder which "folds" the tops of the waveform back instead of clipping. This sounds a bit like an overdrive but also has some characteristics of Frequency Modulation.
To give you a better idea what the waveshaper actually does we'll illustrate what happens with a simple sine wave using different ratio settings for each of the two shaper modes.
Group 2_
Julio Salinas, Diego Colinas, Noemi Hirata, Fernando Navarro, German Parma,
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 ]
Got two Korg Monotron in the mail today. Amazingly small. About the size of an iPhone.
So far I really really like them. The filter is damn raw, and combined with the LFO modulation (ranging from slow enough to fast enough, with a ramp down saw waveform) you can get some sweet squelches out of it. Also, the LFO is retriggered whenever you hit a note. Good for faking an envelope if you let it control the filter.
When using the external input, max out the LFO speed and depth and set the resonance to about 60% and twiddle the cutoff knob for a bitcrusher style effect.
Hmm, if I could sync the VCO's and feed the output of one into the other... These babies are definitely going under the screwdriver tomorrow.
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 in time for some potentially wet Bike Polo in Asheville, "Allwrong" is yet again equipped with a front disc brake. This time with a cheap-assed 700c disc wheel which replaced the broken race wheel and a 160mm rotor intstead of a 180mm. Yay modulation!
Species of Melosira from the salt pond site NS-1 in Heron's Head Park, San Francisco, on San Francisco Bay. This was taken with Hoffman Modulation Contrast Optics at 1,000x, from a wet mount slide. This shows the barrel structure of a single cell of this colonial diatom.
Age management medicine is not anti-aging medicine because aging will still occur, but the synergy of nutrition with appropriate supplementation, physical activity and hormone modulation constitute the steps to a more enjoyable life and disease prevention.
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.
Closeup of the parts in the box, including my homebrew Pulse-Width Modulation controller. It didn't work as well as I had hoped. The idea was to give full current to the motor, but with pulses so that it didn't start too quickly and lift itself off the track. In theory, it would have given me quite an edge over the rheostat type controllers that are normally used.
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/
An antenna for my TDM/7300 Temporal Displacement Modulation All-Wave receiver causing fluctuations in the near-field space-time continuum.
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.
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.
Features:
1.Built-in Wireless Bluetooth 3.0 keyboard
2.Desighned with the 7.9 inch iPad in mind
3.7.9 inch iPad display stand for convenient viewing
4.Built-in Rechargeable Polymer lithium battery with lasts for approximately 55 hours
percharge
5.Touch screen interface with multiple uses
6.Light weight,quiet keystrokes,water and dust-proof
Specifications
1.Bluetooth 3.0 standard interface
2.Operating distance of 10 meters
3.Modulation System:GFSK
4.Operating Voltage:3.0-5.0v
5.Working Current:<5.0mA
6.Standby Current:2.2.5mA
7.Charge Time:4-5 hours
8.Standby Time:60days
9.Charging Time:4-5 hours
10.Polymer Lithium Battery Capacity:200mA
11.Uninterrupted Working Time:55 hours
12.Polymer Lithium Bttery life-span:3 years
13.Plymer Lithium Battery Specifications:25mmx16mmx4mm
14.Key Strength:80g
15.Key Life -span:5 million strokes
16.Operating Temperature Range:-10-+55℃
17.Keyboard Dimensions:205x146.5x21mm
18.Keyboard NW:350g
Includes:
1.Wireless/wired keyboard
2.USB Charger
3.User Guide
Order here now: www.casesinthebox.com/wireless-bluetooth-keyboard-for-7-9...
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of the north facade, with the outdoor shower and spa area by the beachfront pool.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Trees
Plants
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0279 Concha.JPG
Record ID: WB2010-0279
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
From Don Edwards San Francisco Bay National Wildlife Reserve, near Drawbridge, the Weep Site, north "connector", on Feb. 18, 2008. Salinity = 52-PPT. Photomicrograph taken at 1,000x magnification, oil immersion, with Hoffman Modulation optics. This Cyanobacterial filament lacked a sheath, but was motile, resembling "Oscillatoria" species found elsewhere in the salt marsh. These motile filaments were in the minority on this date at this site, most similar filaments showing a sheath and no motility. By May, as the Weep Site evaporated and the salinity went up above 100-PPT, the Cyanobacteria vanished, to be replaced by a community of Dinoflagellates.
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
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).
Video HERE
Instructions [BuWizz] or [2.4 GHz]
Purchase Full Kit: [LesDIY] or [LetBricks]
Features:
01. RC Drive 6 x 6. Buggy Motor geared at 17 to 1.
02. RC Steering. PF Servo
03. RC Turntable. PF M Motor with Worm Gear.
04. RC Compressor. PF L Motor driving 2 x 6L Pumps. Dual Air Storage Tanks.
05. RC Pneumatics. PF Servo & Pneumatic Switch assembly.
06. Dampened Crane Arm movements for fine control & modulation.
07. PRV Function to automatically shut off Compressor.
08. Powered by 2 x (Buwizz 2.0) or (2.4GHz Module)
09. Live Axle Suspension Front & (Tandem) Rear.
10. Ackermann Steering Geometry. Positive Caster Angle.
11. Working Cab Steering Wheel.
12. Opening Cab & Crane Doors. Technic Figure compatibility.
13. Fully customizable Crane counterweight compartment (88 cubic studs) for better stability.
14. Disengage drive & steering motors for manual locomotion. Working HOG on roof.
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.
A 1995, 'V.34 (28800)' Zoom Telephonics FaxModem
Details :
PCMCIA V.34 28800
Card Type : Fax, Modem (asynchronous)
Maximum Data Rate : 28.8Kbps
Maximum Fax Rate : 14.4Kbps
Data Bus : PCMCIA Type II
Fax Class : Class I & II
Data Modulation Protocol : Bell 103/212A
ITU-T V.21, V.22, V.22bis, V.23, V.32,
V.32bis, V.34
Rockwell V.FC
Fax Modulation Protocol : ITU-T V.17, V.21CH2, V.27ter, V.29, V.33
Error Correction/Compression : MNP10, V.42bis
NEWS!
"Zoom V.34XE FaxModem named price/performance leader by PC Professionell magazine.
Boston, MA, Feb. 12, 1996 - The Zoom FaxModem V.34XE has been chosen as the price/performance leader by PC Professionell magazine in a comparison of 14 competing V.34 external faxmodems selling in Germany. The award was announced in the February 1996 issue of PC Professionell, a leading German monthly computer trade magazine published by Ziff Verlag GmbH, a subsidiary of Ziff-Davis Publishing Company.
In its review, PC Professionell commented: "The V.34XE FaxModem, a first-time participant, skyrocketed to the front of the pack." The review concluded that the V.34XE's high connectivity and throughput performance, extended status reporting lights, and reasonable cost, plus Zoom's service and 7-year warranty "left the competition behind." "
A nice example of an 'early' modem thats had minimal use. Comes boxed with all cables / connectors, user manual and software you'll need.
Websites :
www.zoomair.com/techsupport/dial_up/external.shtml
www.zoomair.com/techsupport/dial_up/2836C.shtml
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”
My 1/35 scale AFV Club Stryker M1126 8X8 infantry combat vehicle is done! Much to my surprise, this kit went together with only a couple minimal fit issues, self induced! I had expected it to be a bit on the iffy side as the kit has been in my stash for many years now, and older kits tend to be less engineered than recent ones, but it turned out to be an enjoyable build.
I decided to to it as a vehicle that has been in the field for a while during the summer, perhaps on maneuvers in a training facility, so the weathering is not that heavy. I did use burnt sienna oils with mineral spirits (my first use of this thinner with oils as I usually use the less odorous Turpenol) to do some of the filtering and dirtying but the majority of the modulation is done using the usual black undercoat with white accent under main color coat method.
I also used a very light coat of Tamiya buff thinned way down and sprayed on at a foot or so from the model to create a light dusty look as well. That especially worked well on the tires, which are vinyl mounted to plastic hubs (really nicely detailed tires I might add). I did do some panel accenting with Tamiya Black Panel Liner around the raised hull elements. I sanded the tire treads to make them look worn which really brought out that detail, in my opinion.
The decals went on quite easily and released from their carrier sheet with little to no time needed, not like the previous couple of kits i have worked on…a very delightful development! I did use the Micro Set and Sol method to embed them, but the vehicle numbers all silvered on me (think I should have used more gloss under them to relieve this issue). I am still ok with that as you can always weather to compensate after the fact. Prior to weathering, everything was clear coated with Testor’s Dull Coat…still my favorite flat coat.
For once I have few criticisms of the kit and am delighted to add it to my ever growing shelf of diverse armor builds. Definitely a fun build!
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.
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 ]
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.
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:
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.
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.
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 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
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 ]
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
I still need to shorten the front brake line some more. I don't know what I was thinking when I cut the line, but I still needed to take off 3 more inches than what I did. Cutting and bleeding the brake only took about 15 minutes, and with my Avid Bleed Kit it was very simple. I won't cut the line again today because I already put everything away. The next time I have a bunch of stuff out I'll cut and bleed the line again.
Even with the stock organic pads I can feel that these are just a bit stronger, but the big difference is modulation, and that was one of my biggest gripes with my Juicy's.