View allAll Photos Tagged modulation
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
The rope & pulley prototype set up at ITP for a user testing session. When my right side faces the computer, pulling the rope towards my body triggers a note on the MIDI synthesizer. Pulling the rope with increasing speed increases the volume of the note as well as a sound modulating parameter. Decreasing the pulley's speed decreases the volume and modulation parameter. When the pulley stops rotating, the system turns off the note on the synthesizer.
JW4103 optic talk setwith Red Light Source 60KM
Description
JW4103 Optical Talk Set is an intelligent and efficient instrument that combines in one set the functions of both a digital optical phone and a stabilized light source. It is widely used in operations of installation, optical testing, maintenance and fiber attenuation value testing in data network, CATV and Telecommunication network. The JW4103 Talk Set can carry out full-duplex communication with high quality connection and not be affected by distance.
Features:
Full-duplex digital communication with high quality conversation connection and low background noise
Together with Optical Clip-on Coupler, enables on line communications available
Combining functions of both a digital optical phone call and a stabilized light source
Large LCD display with backlight
Low battery power indication
Applications:
Maintenance in Telecom
Maintenance CATV
Test Lab of optical fibers
Other Fiber Optic Measurements
Specification:
Type
JW4103
Wavelength(nm)
1310/1550
Emitter Type
FP-LD
Transmission Distance
≥ 80km
Dynamic Range
40dB
Output Power
-5~-7dBm(9/125um), CW or 2KHz, 1KHz, 270Hz Modulation
Output Stabvlity
± 0.1dB/± 0.25dB(1/8hrs) CW
Power Supply
Rechargeable Battery + Power Supply Adaptor
Battery Operating Time
5 hours
Optical Connector
FC/PC
Operating Temperatrue(C)
-10 ~ +60
Storage Temperatrue(C)
-25 ~ +70
Dimension(mm)
215X115X55
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!
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
Headset (HS02) assembly showing placement of Tx coil interface about the left eye. The Class-AB coil driver is controlled via a 50MHz Direct Digital Synthesizer DDS that includes high speed Frequency and Phase modulation control of telemetry data. The headset Virtex6 FPGA controls the DDS class-AB coil driver.
With most of their adversaries crippled, writhing on the ground, the Doctor calls out to Lady Gaga.
Doctor: 'Grab Zandar, Gaga! Now is a good time to leave!'
The Doctor's companion does just that, grabbing Zandar off the chair and helping him out the door, right behind Copperhead and Eels. The pair of Cobras stop outside the room and look up to find the Doctor standing before them.
Doctor: 'Now might be a good to for you to leave as well.'
Copperhead and Eels look at each other, then run! The Doctor motions to Lady Gaga.
Doctor: 'Come on, Gaga. The shock from the cerebro-pulse won't last much longer! Pond should have things set up for us outside.'
Zandar: 'Cerebro-pulse?'
Lady Gaga looks at the Doctor who motions for his companion to offer an explanation.
Lady Gaga: 'It is a beam triggered by the Doctor's sonic screwdriver...'
The Doctor interrupts, flustered.
Doctor: 'Not a beam, Gaga. An ultrasonic frequency that alters the rhythmic cerebro-modulation of those under the influence of a cerebro-shell. It causes the sensation of pain and creates a numbness in the lower half of the body, but there is no actual damage to the recipient. The pain is imagined as opposed to inflicted.'
Lady Gaga rolls her eyes.
Lady Gaga: 'Is there a difference?'
Doctor: 'Yes, of course there's a difference! Now, we'd best move! Pond awaits!'
With an array of hardware controls, MPK Mini lets you record, compose, and perform with virtual instruments, effect plugins, and DAWs whenever inspiration strikes. It features 25 velocity-sensitive synth-action keys, a 4-way thumbstick for dynamic pitch and modulation manipulation, 8 backlit velocity-sensitive MPC-style pads, and 8 assignable Q-Link knobs. Plus, two banks expand the number of MPC-style pads to 16 for extended creative capabilities.
More Info / Available here:
www.recordcase.de/en/AKAI+Professional+MPK+Mini.htm?pid=G...
Garland Fielder 'White Cube', 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
All rights reserved.
This parade instalation was desgned & produced by the e Institute for Aesthetic Modulation, is a sub-group of Collective:Unconscious. IFAM has produced work in installation art and visual theater since 1993 at such venues as Theater for the New City, Here, The Knitting Factory, Exit Art, La Plaza Cultural, The 6B Garden, The Coney Island Mermaid Parade, The Pyramid Club, and Mustard.
Collective: Unconscious is a confederation of artists working in the visual and performing arts, founded in early 1995 in the Lower East Side of New York City. www.ifam.net/
June 23, 2007
Founded in 1983 by Coney Island USA, the Mermaid Parade celebrates the sand, sea, salt air and the beginning of summer. Participants dress in hand-made costumes as mermaids, Neptunes, various sea creatures, and the occasional wandering lighthouse. Each year, a celebrity King Neptune and Queen Mermaid rule over the proceedings, riding in the parade and assisting in the opening of the Ocean for the summer swimming season. Attending celebrities in the past have included David Byrne, Queen Latifah, Ron Kuby, Curtis Sliwa, Moby and Theo. The Parade is followed by the Mermaid Parade Ball
For more Mermaid Parade and Coney Island images see www.flickr.com/photos/artedelares/sets/72157600584117640/ and www.flickr.com/photos/artedelares/sets/888721/
Garland Fielder 'White Cube', 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Home, still feeling sick. I decided to finally go and look at the circuit.
The two diode 555 pwm, MOSFET low-side power switch, excess
instrumentation and rat's nest wiring. :)
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.
Plaster cast, 1813
(date carved in plaster with Author’s inscription)
Current placing: Scarpa wing, cm 175x103x64
This is the marble model which can be found at the Hermitage in S.Petersbourg (Russia). Another plaster cast representing the Grazie can be found in the Council Chamber at Possagno. There are some variations on the model: instead of a stele, a tree trunk acts as a stand): This is a marble cast which can be found at the Museum in Edinburgh (Scotland- UK). The poetical expression of the Grazie represents sweetness, affection as well as agility and harmony: the three goddesses have just come out from the fountain where they had been bathing (Carlo Scarpa actually wanted to place them near a fountain), they embrace each other creating a pleasant interlacement. They bow their heads tenderly creating a harmonious modulation of bodies. The firmness of their flesh as well as the delicacy of their nimble bodies make this work one of the best-known masterpieces by Canova.
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 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
Plants
Trees
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: WB2010-0280 Concha.JPG
Record ID: WB2010-0280
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
One cell of the colonial diatom Melosira shown with the filamentous alga. Photomicrograph taken with a Coolpix 885 at 3x zoom, using an Olympus microscope equipped with Hoffman Modulation Contrast optics, oil immersion at 1,000x magnification.
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)
Boy Harsher @ Red Hat Amphitheater, Raleigh, NC on Thursday, April, 28, 2022.
Setlist:
Keep Driving
Fate
Westerners
Come Closer
Tears
(Unknown)
Modulations
The Dirty Carter Electronic Sound Generating Instrument was designed by John Richards (Dirty Electronics) and Chris Carter from legendary Industrial pioneers Throbbing Gristle. It was produced for a special performance by Carter and the 25 strong Dirty Electronics Ensemble in 2010. It was originally designed as a touch controlled instrument with the player's skin resistance completing the circuit. This hard wired modification by A.S.M.O. gives more control and predictability by wiring all to the touch contacts to pots and switches. An additional low pass resonant filter has been added, LFO and an external CV socket for filter modulation.
The case is made of stained ply and the front panel is covered with black leatherette.
Bluetooth Keyboard For iPad 2 with Black Aluminum Docking.The aluminum bluetooth keyboard case for the iPad 2 has a thin, eye-catching design.Made from aluminum with a high-grade finish, matching the design, look and feel of today's hottest tablets. A built-in physical keyboard allows for fast, responsive typing.
Sleek and stylish design with unique and useful features makes it an essential accessory to buy for your iPad2.Special function keys for music control, volume control, slideshow, home, search, etc.
Please note, this is an after-market item, it is not manufactured by Apple.
Feature:
Bluetooth standard: V2.0
Type: 82 keys
Operating distance: 10m
Modulation system: GFSK
Operation voltage: 3.0-5.0V
Working current: <5mA
Standby current: 2.5mA
Sleeping current: <200uA
Charging current: ≥100mA
Standby time: 60 days
Charging time: 4-5 hours
Charging input: DC 5V mini USB
Battery capacity: 1600mAh
Battery life: 3 years
Continuous working time: 55 hours
Key strength: 80 +/-10g
Key life: 5 million times
Operating temperature: -10-55℃
Size: 24.5cm (9.6") x 19cm (7.5") x 1.3cm (0.45")
Weight: 298g
Two colors to choose, Black and White ( Review White Bluetooth keyboard for iPad 2)
Package Content:
1 x Bluetooth iPad 2 keyboard
1 x Charging cable
1 x English manual
Note: Last 100pcs at this promotion price, pls confirm your order soon before it out of stock!
www.dealmelody.com/bluetooth-keyboard-for-ipad-2-with-bla...
Get It From: www.24freepostage.com/
Hot Pink Aluminum Bluetooth (White Keyboard) Wireless Thinnest Slim Case Cover For iPad 2 3 Gen
Feather:
Hot Pink Background Aluminum Faceplate (White Keyboard)
1.The Bluetooth keyboard of ipad is the world's thinnest, and it is just 16.5mm after the merger with ipad. single thickness of Bluetooth keyboard of ipad is only 11mm. The machine weighs just 280 grams, so that it is the world's best carry-on performance Bluetooth keyboard.
2.Maximum Scissor keyboard is designed for ipad, the keyboard pitch to 16.6mm. Chocolate-style keycap's design allows users to experience a more good sense compared to other Bluetooth keyboard. Undoubtedly, the experience of mobile Bluetooth keyboard is the best.
3.Enclosure made of aluminum alloys is used to make the machine more attractive, fashionable, and more integration with ipad native.
4.The Bluetooth keyboard of ipad can be used just by a movement to place ipad on the slot of machine, and is the world's most convenient to use
Description:
Function:
1.Bluetooth 2.0 interface standard
2.Operating Distance to 10 meters.
3.Modulation System:GFSK
4.Lithium Battery Capacity:160mA
5.Uninterrupted Working Time:55hours
6.Operatin Voltage:3.0-5.0V
7.Standby Time:60days
8.Charging Time:4-5hours
Material:
Aluminum & Electronic Components
Package:
1 x Wireless Keyboard (iPad 2/3 & Support is not include)
1 x USB Power Charger Cable
Compatible:
iPad 2/3 Gen
Heading: 1-2 business day
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 JoaquÃn 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.
----------------------------------------------------------------------------------------
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 JoaquÃn 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.
A large Amoeba, magnified 200x, flows over filaments of Cyanobacteria. At the Weep Site, Don Edwards San Francisco Bay National Wildlife Reserve. Feburary 10, 2008. 200x magnification; Olympus Hoffman Modulation Contrast optics; Nikon Coolpix 885 camera.
a combined device for modulation and demodulation, for example, between the digital data of a computer and the analogue signal of a telephone line.
Perhaps linking a hospital car park with medieval chain mail is not such an outlandish idea, especially if it’s a Cambridge University teaching hospital. It certainly didn’t seem so for Allies and Morrison and Devereux Architects, who were commissioned by Addenbrooke’s to design one on for the expanded Rosie Maternity Hospital’s campus. The D&B proposal they came up with is lavished with playfulness and delight. The twisted yellow-painted aluminium facade that runs the full length and height of the building draws its inspiration from the rape seed fields that used to stretch away on the site, the twist creating a weaving modulation that imposes even while it dematerialises the mass.
The judges pronounced the design vision and detailing excellent throughout, along with rigorous and clear approaches to accessibility and way-finding – all-important in this medical environment.
Varisu trailer highlights ;Vijay’s strong comeback a from ‘Varisu action to romance .Thiraipattarai also provides body language , dialogue modulation, cinema workshop, fight, dance, video shoot, photo shoot, etc
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
Garland Fielder 'White Cube', 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Garland Fielder 'A Theory of Everything' (version II), 2009, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Our tiny dancing Dinoflagellate has become - or, perhaps, is becoming... Ciliate. Photomicrograph is at 1,000x magnification with Hoffman Modulation Contrast optics in an Olympus microscope. Camera is a Nikon Coolpix 885 at 3x zoom. Cyanobacterial filament, Dinoflagellate, and Ciliate came from Heron's Head Park salt marsh, pond site OS1, on San Francisco Bay.
Wow. 7.5 hours later it's finished.
The pedals in their signal flow order starting lower right to left, middle right to left, then top right to left with their PSU.
Boss tu2 - DC Brick
Boss dd-5 Pink-label modded - dc brick
Boss dsd2 - DC Brick
Ibanez de7 - DC Brick
EHX memory man - Fuel Tank
Keeley Java Boost - Fuel Tank daisy chain
Keeley Time Machine Boost - Fuel Tank daisy chain
Red Witch Titan - Fuel Tank daisy chain
Empress Superdelay - own psu
Digitech Hardwire DL8 - Fuel Tank daisy chain
Boss rv-3 - DC Brick
Eventide Timefactor - own psu
Digitech Hardwire RV7 - Fuel Tank
Everything just sounds absolutely awesome. I'm completely happy with this setup, though I'm looking for a modulation pedal to stick in the Titan's effects loop.
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
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
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 ]
Manchmal behält sich ein(e) Künstler(in) eine gewisse Autonomie vor der Alchemie der Bilder und verwehrt dem Konzept dessen Rolle als Katalysator zwischen dem Selbst und der Geschichte seines/ihres Diskurses. Dies scheint bei unserem nächsten Gast auch der Fall zu sein; in einigen seiner Werke stürzt Karsten Konrad die Logik des Raums und strebt nach einer zeitlosen Strömung. Als Einleitung des vorigen Vortrags erwähnte ich die Archetypen; auch hier bekommt der Archetyp einen eigenen Leib. Es ist, als würde der Künstler komplexe Permutationen erschaffen und sie dann zu Form, in einem bestimmten Muster, koagulieren; oder als würde eine Bewusstseinsebene auf eine andere treffen. Aus der Quadratwurzel der zwei sich überschneidenden Zustände entsteht eine spektrale Modulation, die sich in stabile Formen zerlegt. Da bezeugen wir die Auflösung der Realität in einem Feld beliebiger subjektiver Projektionen, die völlig bewusst jenseits der Nüchternheit, jenseits des Subjekts, jenseits des Enthusiasmus pulsieren. Diese Veränderungen nennen wir Kunst - und über sie werden wir am 27. Mai mehr erfahren können...
Sometimes, an artist retains a certain autonomy before the alchemy of images and refuses to grant the concept its role of catalyzer between the Self and the history of his/her discourse. This seems to be also the case with our guest. In some of his works, Karsten Konrad overthrows the spatial logic and aspires to create an atemporal flow. I had mentioned archetypes in the previous introduction; it appears that here, too, the archetype is granted a body of its own. It is as if the artist would make complex permutations and would subsequently coagulate them into a shape, following a certain pattern - or as if a level of the consciousness would overlap on another. The square root of the two dissolving states would then result in a spectral modulation that divides itself in stable forms. In other words, we witness the dissolution of reality into an aleatory range of subjective projections that are knowingly guided to pulsate beyond lucidity, beyond enthusiasm, beyond the subject. These transformations are what we call art - and on the 27th of May we will have the chance to know more about them...
Luciana Tamas