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El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
Purple LED lights as seen in room light, with the eyes (and camera) held steady. But are there REALLY purple LEDs in there?
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...
Die Elektronenröhre PCF 802 hatte auf der Leiterplatte des schwarz-weiss Fernsehers von Metz (Modell 6060) zwischen der Sinus-Generatorspule und der Impulsformerspule seinen Steckplatz.
Eine Elektronenröhre ist ein elektronisches Bauelement, das aus einem evakuierten oder gasgefüllten Kolben aus Glas, Stahl oder Keramik besteht, in den mehrere Elektroden, mindestens eine Kathode mit Heizung und eine Anode, eingelassen und von außen kontaktiert sind. Sie dient zur Gleichrichtung, Erzeugung, Verstärkung oder zur Modulation von elektrischen Signalen.
Radioröhren: ECC85, EL84 und EABC80
Eine Auswahl an Elektronenröhren
Die Rimlockpentode EF42
6L6GC-Röhren: links General Electric ca. 1960, rechts Svetlana Electron Devices, Russland ca. 2000
Im Inneren der Röhre treten Elektronen aus einer Glühkathode als freie Elektronen aus (Elektronenemission) und fliegen unter dem Einfluss eines elektrischen Feldes zu einer Anode. Durch ein Steuergitter zwischen Kathode und Anode lässt sich der Strom beeinflussen, denn durch unterschiedliche Gitterspannungen bzw. elektrische Felder kann man den Elektronenfluss hemmen oder verstärken. Darauf beruht die Verwendung der Elektronenröhre als Verstärkerröhre oder Oszillator.
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”
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 ]
VIEW OF PATIENT POSITIONER
.IN THE FOREGROUND IS THE RANGE MODULATION SYSTEM, TO PINPOINT WHERE THE BEAM STOPS IN THE PATIENT. IN THE BACK- GROUND ARE THE DOSE MEASURING DEVICES.
For more information or additional images, please contact 202-586-5251.
Was trying to show the "Anglebaby", or modulation part of the pedal. Can get flanging, phasing and thousands of other crazy sounds!!!
Blueberries:
Blueberries are among the highest anti-oxidant value fruits. The ORAC value of 100 g fresh blueberries is 5562 TE (Trolex equivalents). Their antioxidant value largely derived from poly-phenolic anthocyanidin compounds such as chlorogenic acid, tannins, myricetin, quercetin and kaempferol.
Strawberries:
Fresh berries are an excellent source of vitamin-C (about 98% of RDI), which is also a powerful natural antioxidant. Consumption of fruits rich in vitamin C helps body develop resistance against infectious agents, counter inflammation and scavenge harmful free radicals.
Bananas:
There are about 110 calories in a banana
* Safe and pure enough for baby's first solid food
* Bananas are a terrific, heart-healthy food
* A nutrient dense food that's ideal for any diet or weight-loss program
* Fat-, cholesterol- and sodium-free
* Provides an excellent source of vitamin B6
Yogurt/yakult:
Claims regarding the benefits of Yakult consumption are supported by an array of scientific studies, according to the manufacturer's website.Those could range from maintenance of gut flora,modulation of the immune system, regulation of bowel habits and constipation and finally effects on some gastrointestinal infections.
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).
Kurzwellen-Handfunkgerät im 10, 11- und 12 meter Band (24,9 - 29,7 MHz)
Für Funkamateure stehen durch Sonderprogrammierung die Bereiche des 10 und 12 meter Bandes mit 4 Watt Sendeleistung in AM/FM/USB/LSB Modulation zur Verfügung.
Durch spezielle Programmierung auch als reines CB-Funkgerät (mit Länderschalter) in vielen Ländern Europas für Jedermann genehmigungs- und gebührenfrei zugelassen.
A (slightly excessive) experimental setup for the March solo gig. The new Guyatone ST2 gives pickups a big fat boost which drives the HOG. The HOG is split into a "clean" and an effected channel. The "clean" channel drives the second effects loop (Yamaha NE-1, DOD Classic Fuzz, Crybaby and Vox 1904). The "clean", the HOG and the second effects loop all run through the first effects loop with a stereo Line 6 Echo Park giving the whole thing an ambient shimmer.
A previous version of this setup featured a Boss Super Shifter (on Harmonist mode for octave up, and Pitchshifter mode for octave down) which was placed either at the beginning or the end of the second effects loop. This wasn't sufficiently distinct from the HOG other than when it was being fuzz-wahed.
This setup is probably too big for the gig anyway. Something using the Super Shifter rather than the HOG, perhaps with some ring modulation, might work better. But all in all, the boosting effect of the new Guyatone Compression Sustainer had a rather bracing effect upon all and sundry and on that basis this should be thought of as a partial triumph!
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.
yamaha tx81z sound module
excellent condition
with manual
make an offer
will ship
The TX81Z uses the same synthesis method as the classic Yamaha DX-7.
Voice Banks
The TX81Z has 5 banks of 32 voices each. Banks A-D contains 128 factory preset voices, and bank I (internal) has 32 user voice memories for storing edited edited presets of totally new voices that are created by the user.
Play Single Mode
Play Single mode allows one voice to be played at a time, using chords of up to 8 notes.
Play Performance Mode
Performance Mode allows the TX81Z to act as several independent instruments. The maximum number of notes can be set for each instrument, and any combination is possible with a total of 8 notes. The Note Limit function creates any type of split or double effect even when playing notes on one MIDI channel.
Program Change Table
The TX81Z memory contains a Program Change Table that allows the user to specify which voice (banks I, A-D) is to be selected in response to each MIDI program change (1-128). If the Program Change Table contains a performance number, the entire setup of the TX81Z (independent settings for all 8 instruments) can be changed by pressing one switch on the keyboard.
Micro Tune Tables
Incoming Note On messages can be routed through one of the 13 Micro Tune Tables (2 user-programmable, 11 preset) to produce non-standard intonation. Eleven scales such as Mean Tone, Werckmeister, Pythagorean and Kirnberger are preset, and two memories are provided for custom scales.
Three Effects
One of three effects (Pan, Transposed Delay, Chord Set) can be selected for use in each performance memory. Using Pan, the sound can be periodically shifted between two outputs. The Transposed Delay effects lets one note trigger a delayed, transposed note, with delay time, transposition, number of repetitions, and velocity of the delayed note being set by the user. Chord Set assigns up to 4 notes to be sounded by a single incoming note. 12 notes can be named, with a different chord for each.
Oscillator Wave Select
Oscillator Wave Select gives the user a choice of 8 different waveforms to use in each operator, generating sounds more complex than were possible with previous 4-operator FM synthesizers.
EG Shift
EG Shift sets the range of the envelope, and can determine a minimum operator output level even before a note is played.
Voice Function
Poly/Mono, Pitch Bend Range, Portamento Time, and Transpose can be set for each voice. MIDI controllers on a keyboard can regulate pitch or amplitude modulation, and a Breath Controller can control two additional parameters - EG Bias and Pitch Bias.
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”
Name: Chicken broth cube
Product Description:This product uses fresh chicken meat as raw material, processed through the latest technology, widely used in soup, stir-fries, modulation broth, taste better fresh and delicious, can be used instead of MSG..
Product specifications: 10g×60blocks /box
10g×30blocks /box
Mr yan
e-mail:yjxa31@gmail.com
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 ]
Tonal Contrast
Intention: To show isolation between the lamp and the frozen lake using tonal contrast in the blacks and whites.
Reading: Freeman says in visual terms, black and white allows more expression in the modulation of tone, in conveying texture, the modeling of form, and defining shape. Here I wanted to use black and white to convey the texture of the ice in the water and the shape of the lamp.
Outcome: I am pleased with the outcome and think I executed my vision. I think while the lamp is the main focus and isolated object in the photo, the background is still simple but interesting to draw the eye in and towards the lamp.
Edits: Converted to black and white, cropped, increased contrast, increased blacks, increased clarity, decreased highlights
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.
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.
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
Close-up of the light controller.
See laneboysrc.blogspot.sg/2012/07/diy-car-light-controller-f... for details.
Notice that there are two chips stacked on top of each-other on the left. These are the LED drivers. In our Dingo I used PWM (pulse width modulation) to control the brightness of the LEDs. However, due to the low speed of the microcontroller this causes flickering when filming at high shutter speeds.
To improve this for the XR311 I use two chips, one for full brightness (20mA) and one for half brightness (~8.5mA).
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.
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”
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 ]
Dub~STEP~ARCADE
a cross between a dub siren and atari punk console with A/D gen and LFO modulation
KITS NOW AVAILABLE
Nautel NV 7.5 transmitting into dummy load (DL is on top of equipment rack, behind the fluorescent light fixture and the little speakers.
Below the speakers:
Patch panel to send signal from transmitter to dummy load or antenna, and to hook up auxiliary transmitter.
Receiver to listen to signal.
Belar modulation monitor.
Sony HDR F1-HD radio receiver and Barix Exstreamer 1000 (extracts the analog signal out of the HD stream).
Orban 5500 processor for the FM audio.
Nautel Exporter (temporarily in the rack for setup of HD stream, normally at studio end).
Nautel Importer (temporarily in the rack for setup of HD stream, normally at studio end).
Laptop for setup, monitor, control.
Drawer for manuals, tools, emergency rations.
Davicom Mini MAC remote control.
Fan panels.
Uninterruptible Power Supply with additional battery pack.
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 lounge, pool area and restaurant.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
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: WB2010-0241 Concha.JPG
Record ID: WB2010-0241
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Bruxelles - Belgique - 2014 (iphone 89)
Description: texte, phrase, "wait for the drop", anglais; monochrome, bleu
Référence: a term used in a group of people listening to house, techno, dubstep or DnB. a drop is usually preceded by an electronic drum beat and a modulation occasionally prompting one of the listeners to yell "here comes the drop!" the drop itself is a heavier beat, containing synth sounds and a heavier bass, anticipating listeners to attempt at dancing. of course none of them can because they're all a bunch white high school/college kids stooned and/or drunk off their ass.
Traduction: en attendant ...
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0019
Pelavin Gallery is proud to announce a solo exhibition of recent work by American artist, Kate Beck. This show will include large scale poured oil paintings and graphite drawings on aluminum panel. This will be Beck’s first solo exhibition at the gallery, and in New York City.
In this new body of work, Beck continues her engagement with repetitive tonal rendering as a means of interaction between light and shadow, human thought and consciousness, and the dynamic architectonics of space. This time she takes the essence of form further by using aluminum substrates, allowing modulating marks of graphite and poured oil to accumulate and shift amidst the confines of the geometric shapes. Tension oscillates between formalistic geometry and existential space; an allusion to thought and consciousness, and the passage of time.
For more information, please visit pelavingallery.com
Camera: Polaroid SX-70 Land Camera PolaSonic Model2. Film: Impossible Project PX 70 Cool Color Shade.
The new frontiers of nanobioengineering and nanomedicine involve convergence of nanotechnology with fundamental physical and chemical sciences, engineering and medicine to produce breakthrough approaches for meeting healthcare challenges, such as cancer, neurological disorders, infectious diseases, age-related diseases, addiction, chronic pain, depression and obesity. Engineered nanoplatforms can now be developed for carrying various payloads for new, minimally invasive medical procedures, targeted delivery of multiple therapeutics, enhanced efficacy of existing treatments, and real-time monitoring of disease treatment. This presentation will describe our work on multifunctional polymeric, inorganic and hybrid heterostructured nanoparticles and nanostructures containing multiple imaging (linear and nonlinear optical, photoacoustic, magnetic, radiation, SPECT, PET) and sensing probes. Coupled with targeting capability and therapeutic and genetic payloads, these nanoplatforms provide targeted combined diagnostics and therapy. A major focus of our research is on light-based biotechnology (biophotonics). We have developed optical nanotransformers, which, on demand, convert incident photons in-situ to another wavelength suitable for deep tissue imaging or for affecting a therapy. A new direction for us is brain research and neurophotonics for functional mapping and modulation of brain activities. The talk will end with a discussion of new multidisciplinary opportunities and challenges to overcome.
Silicon nanowires
Lab-on-a-chip (LOC) systems for molecular diagnostics at very low concentrations are becoming increasingly important for applications requiring high-throughput biomolecular analyses, such as protein arrays for basic molecular biology research, disease marker identification, and pharmaceutical drug screening. Techniques and methods used for protein arrays are improving, however, progress has been hindered by size and detection constraints. First, conventional protein arrays require relatively large sample volumes. One strategy for overcoming this problem is to significantly decrease the size and consequently the sample volume of the protein interaction assay, an ideal application of LOC. Secondly, the detection of protein and chemical pathogens (targets) is currently most commonly done using fluorescence detection of the probe-target binding. Although very sensitive, fluorescence detection suffers from the need to label the molecular target, which can lead to alterations in target-receptor interactions caused by conformational changes or steric hindrance induced by the label. The efficiency of labeling varies from protein to protein, making comparisons a challenge. In addition, attaching fluorophores may influence the way in which proteins bind to other molecules causing background signals. For these reasons, there is considerable effort to investigate alternatives for fluorescent detection. Label-free sensors detect the hybridization of an affinity complex using a variety of methods including optical, mechanical, and electrochemical techniques. We are exploring the sensing limitations of silicon nanowires (Si-NWs) to electrochemically detect probe-target binding based on surface charge modulation, hence label-free detection. Si-NW sensors can be considered as nanoscale versions of the ion-sensitive field effect transistor (ISFET) sensors, invented by prof. dr. ir. Piet Bergveld in 1969, the previous chair holder of the BIOS group. The Si-NWs have been reported as capable of providing a highly sensitive label-free biomolecular sensor that can be manufactured into dense arrays and additionally provide a real-time electrical output that easily integrated with conventional data recording equipment. However, the majority of these reports fail to carefully study the sensing limitations, critical device characteristics and interface behavior.
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.
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 facade of the hotel from the pool and lounge area with the brise-soleils also in view.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Water
Trees
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: WB2010-0274 Concha.JPG
Record ID: WB2010-0274
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta