View allAll Photos Tagged modulation
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.
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.
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”
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
History Of Electronic Dance Music Documentary. Directed by Iara Lee
www.vjsmag.com/wp-content/uploads/2013/04/MV5BMTQ5ODA5NjE...
www.vjsmag.com/modulations-documentary/
#Films#Documentary, #Music
I had two bodies that I used in racing. The one on the right was mostly used and when it was new, the plastic fairing was in better shape. Note the "1701" Star Trek reference on the numbering... hehehe...
HMJ300B-TDD
SoleNode IP Mesh Microwave Video Transmitter
HMJ300B-TDD transmitter combined with other SoleNode Receiver to create a fluid self forming, ad hoc, mobile and dynamic surveillance mesh network.
Just using a single frequency to routes video, voices and data, GPS around the wireless network, mostly simplifying frequency management, and the entire mesh just need 2Mhz of bandwidth (4,6,8,16Mhz as optional)
Using HMJ's patented COFDM modulation and therefore offer excellent RF penetration and performance in multipath and harsh environment.
The highly flexible mesh topology ensure video, voice and data, GPS can be exchanged between moving nodes in a point-to-point or multi-point fashion, also each node can be acted as repeater for expanded range.
HMJ300B-TDD transmitter can be connected to third party composite cameras using the AVI option or Third party IP cameras can also be directly connected to the SoleNode mesh network.
Optional AES128 or AES256 encryption make safe and secure link.
Using provided Commander PC software application in-build mapping display to configure and monitor the deployed mesh network and surveillance system, and video can be real-time viewed on PC device or recorded using compatible recorders.
www.dropbox.com/s/sqft3gycu6nyg85/IP%20Mesh%20Vdieo%20Tx%...
More information, please visit our website at en.hmjtx.com, detailed datasheet available on request.
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...
On April 6 I performed at the Woodview Coffeehouse open mic. My past two times there I'd included excerpts from my novel Covenant . But since we were in the middle of Passover in addition to Good Friday, I read from my 20-years-ago journal entry, "The Old Men of Revere Beach." After beginning with extemporaneous a cappella singing, I put my Yiddish brogue to good use here.
I was also fascinated by an instrument that one of the featured performers (in the duo Pete Price and Mike Roberts) used. He called it a "paddlewheel harmonica," which I think is the perfect name for it, although my Google search for that term turned up empty. For the first part of the set I couldn't help but notice this weird thing on the floor. From where I sat, it didn't even look like a musical instrument. Then it literally came into play for a song with a "modulation" (change in key) and captivated me. You can see one here.
When I told Mary about the harmonica, she expressed her interest in a slide kazoo. Simple enough, I thought. Not. I've found references to alto slide kazoos, tenor slide kazoos, contrabass slide kazoos, electric slide kazoos, and discussion on what kind of a mouthpiece to use on a slide kazoo. Though I believe the "left-handed E-flat slide kazoo" mentioned in one post plays in the same orchestra as PDQ Bach's Left-Handed Sewer Flute, lovingly detailed on the cover of this debut album, which I grew up with along with other mishegas.
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 ]
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
This is the Karnage VST Plugin, an analogue/subtractive synth that was a result of a collaboration between Kriminal and Krakli Software. An absolute beast of a synth. Very useful for making noise, industrial, and electronic music
Features:
-Two oscillators with width (fatness setting) and wave-shape control, a sub oscillator/white noise oscillator mixable with a level control.
-24db/12db Filter modulated by a dedicated envelope, velocity, and up to 2 LFOs.
-A dedicated ring modulation section that can use keyboard tracking, velocity, envelope, and up to 2 LFOs for modulation of Ring Freq.
-Amp section where amplitude can be modulated by velocity and a dedicated envelope - with it's own built-in compressor. Plus Velocity control of Amp and Filter ADSR Decay.
-A performance section that has Poly-Mono switch, Glide, Glissando and retrigger switches with Time control on the glide. Glide can be routed to OSC1, OSC2 or Both.
-A dedicated distortion unit which uses pre and post filtering (it is this which can give Karnage its unique sound). The modulation (LFO1 or LFO2) is of the pre-post cutoff but the types of filters are set by the shape control so all sorts of effects are possible from a phasing type of modulation to a vocally formant shifting effect, (talk-box effect).
-Two LFOs, whose rate is controlled manually or by host tempo. Destinations are Filter, Ring Modulation and Distortion for both LFOs and you can apply each LFO to more than one destination at once. The LFOs also have MIDI Trigger On/Off (Gate).
-Full set of 128 presets by a variety of respected patch-makers.
via
Eine kürzlich veröffentlichte Studie der McGill University weist auf Sojamilch als die beste pflanzliche Milchoption hin, aber die Realität ist nicht ganz so einfach.
Die Studie untersuchte die vier am häufigsten konsumierten pflanzlichen Milchprodukte auf der ganzen Welt: Soja, Mandeln, Reis und Kokosnuss. Sie verglichen sie nicht nur miteinander, sondern auch mit Kuhmilch, die aus ernährungsphysiologischer Sicht der „klare Gewinner“ war: Die Autoren schreiben, dass sie die „perfekte Zusammensetzung der Nährstoffe“ für Kühe hat und der Zusammensetzung des Menschen ähnelt Muttermilch.
Unter den Optionen auf pflanzlicher Basis setzte sich jedoch Sojamilch durch, und aus rein nährstoffbasierter Sicht ist es schwer zu argumentieren: Sojamilch, so die Wissenschaftler, „fand man heraus, dass es mit Kuhmilch am besten vergleichbar ist Gesamtnährstoffbilanz “, berichtet TIME. “Es ist auch der höchste Proteinanteil aller untersuchten alternativen Milchoptionen, mit etwa 7 bis 12 Gramm (und etwa 95 Kalorien) pro Portion.”
Im Vergleich dazu hat Reismilch vor allem relativ niedrige Nährstoffgehalte und einen höheren Zuckergehalt, was die Autoren der Studie zu der Überzeugung veranlasst, dass Säuglinge, die Reismilch konsumieren, sogar an Unterernährung leiden könnten. Kokosnussmilch war unterdessen sehr arm an Eiweiß, obwohl der Bericht seine Auswirkungen auf gutes Cholesterin gutheißt; und Mandelmilch, die reich an einfach ungesättigten Fettsäuren und relativ kalorienarm ist, war bei Eiweiß und Kohlenhydraten niedriger als bei Kuh- oder Sojamilch.
Gesundheit beginnt und endet nicht mit Nährstoffen
Nur weil Sojamilch ein ähnliches Nährwertprofil wie Kuhmilch aufweist, bedeutet dies jedoch nicht, dass es für Sie besser ist als andere pflanzliche Milch – oder sogar für Sie.
“Sojamilch kann eine sichere Alternative zu Kuhmilch sein”, sagt Dr. Mark Hyman, Direktor des Cleveland Clinic Center for Functional Medicine. “Es gibt jedoch eine Reihe wichtiger Vorbehalte.”
Er zitiert beispielsweise, dass 95 Prozent aller Sojabohnen gentechnisch verändert sind, das heißt, dass sie wahrscheinlich zumindest Spuren von Glyphosat enthalten, ein Herbizid, das von Monsanto als Roundup vertrieben wird. Ein Großteil des in den USA angebauten Sojas ist gentechnisch so konstruiert, dass er den Auswirkungen von Glyphosat standhält, was bedeutet, dass es mit der Chemikalie stark besprüht werden kann und wird, was zahlreiche Studien, einschließlich einer Überprüfung der Weltgesundheitsorganisation aus dem Jahr 2015, ergeben haben kann krebserregend sein.
Die Wahl von Bio-Sojamilch kann diese Probleme abmildern (obwohl betrügerische Einfuhren von herkömmlichem Soja im letzten Jahr bedeuten, dass es immer noch schwierig ist, absolut sicher zu sein, dass Ihre Sojamilch keine Pestizide enthält), aber Dr. Hyman weist darauf hin, dass sogar Bio-Sojamilch unerwünschte Inhaltsstoffe enthalten kann. Einige Sojamilch enthält Gerstenmalz – eine Glutenquelle – sowie Zucker und Carrageenan, einen Emulgator, der mit erhöhter Darmpermeabilität in Verbindung gebracht wurde (Carrageenan ist jedoch in der Lebensmittelindustrie nicht nur in Sojamilch verbreitet).
Einige Experten äußerten auch Bedenken hinsichtlich des Sojakonzentrats an Phytinsäure, einem in Nüssen und Samen enthaltenen „Anti-Nährstoff“, der es dem Körper möglicherweise erschwert, lebenswichtige Nährstoffe aufzunehmen und zu verdauen.
Das größte Problem im Zusammenhang mit Soja ist jedoch möglicherweise die Wirkung auf Östrogen.
Soja ist das Nahrungsmittel mit dem größten bekannten Isoflavon-Gehalt; Die Studie hebt diese pflanzlichen Nährstoffe für ihre krebsbekämpfenden Eigenschaften hervor. Isoflavone können jedoch auch die Produktion von Östrogen stimulieren. In einer Studie aus dem Nutrition Journal aus dem Jahr 2008 wird sogar darauf hingewiesen, dass aufgrund der krebsbekämpfenden Eigenschaften von Isoflavonen mit der Modulation von Östrogen Frauen mit Brustkrebsrisiko anfälliger werden können auf die Krankheit bei der Erhöhung ihres Isoflavonverbrauchs. Der Verbrauch großer Mengen Sojamilch war auch in einer Studie zur Umweltforschung 2017 mit der frühen Pubertät verbunden.
Milch bekommen? (Sicher, in Moderation)
Die Prämisse der Studie ist jedoch sehr verfälscht: Bei der Einstufung von Milchersatzstoffen nach Nährstoffgehalt gehen die Autoren der Studie davon aus, dass die Menschen Milchprodukte zu den Raten einnehmen, die die Bundesregierung empfiehlt. Ab 2015 empfehlen die Ernährungsrichtlinien des Bundes weiterhin, dass Erwachsene täglich zwei bis drei Portionen Milch trinken. Die meisten Ernährungsexperten sind sich jedoch einig, dass dies bei weitem nicht der beste Weg ist, um Nährstoffe zu erhalten.
„Milchprodukte sind ein Wachstumshormon“, erklärt die Naturheilkundlerin Serena Goldstein. Erwachsene, die Milchprodukte konsumieren, könnten am Ende Gewicht, Blutzucker und Hautprobleme aufgrund dieser Hormone bekommen. “Wir verlieren auch unsere Fähigkeit, Molkereiprodukte zu tolerieren, nachdem wir zwei Jahre alt sind. Daher ist es ein Faktor, der die Darmgesundheit stört, die mit schlechter Laune, Herz-Kreislauf-Erkrankungen, hormonellen Problemen usw. in Verbindung gebracht wurde.”
Selbst wenn ein Erwachsener sich dafür entscheidet, Kuhmilch in seine Ernährung aufzunehmen, sollte er sparsam konsumiert werden, was bedeutet, dass er sich auf andere Quellen für die mit Milch verbundenen Nährstoffe wie Kalzium, Eiweiß und bestimmte Vitamine verlassen muss. und Milch – egal, ob sie von einer Kuh oder einer Pflanze stammt – sollte „manchmal“ Nahrung sein.
„Alles in allem ist ein bisschen ungesüßte Bio-Sojamilch ohne Carrageen oder Gerstenmalz in Ordnung, sollte aber kein Grundnahrungsmittel sein“, sagt Hyman. „Wenn Sie es in Ihren Kaffee geben wollen, ist es in Ordnung. Wenn Sie jeden Tag einen großen Sojalatte trinken, ist das wahrscheinlich keine gute Idee. “
Also, welche Milch soll ich trinken?
Hyman und Goldstein bevorzugen beide Kokosnuss- oder Nussmilch; Goldstein merkt an, dass sie in der Regel vorschlägt, dass ihre Kunden Kokosnussmilch, Mandelmilch oder Hanfmilch wählen, da sie gute Quellen für gesunde Fette sind, was bedeutet, dass sie ein wenig mehr Durchhaltevermögen haben und weniger wahrscheinlich Ihren Blutzucker ansteigen lassen , wie Reismilch kann.
Für welche Milch Sie sich auch entscheiden, Sie sollten unbedingt sicherstellen, dass sie aus einer sauberen Quelle stammt: Kokosnussmilch in Dosen ohne Zusatzstoffe oder hausgemachte Nussmilch ist eine ausgezeichnete Wahl für Ihren Morgenkaffee.
Die Post Ist Sojamilch die gesündeste pflanzliche Milch? erschien zuerst bei Health Beauty ABC.
The post Ist Sojamilch die gesündeste pflanzliche Milch? appeared first on Natürliche Alternative Heilmittel - Körper | Geist | Zuhause.
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 ]
Basically, the Ekdahl Moisturizer is a spring reverb where the springs are exposed so they can be played/hit/fiddled with. As well as being capable of creating sound in itself, you can of course also play sound through the springs like a regular spring reverb - this makes for happy-fun-time finger-modulation of the reverb on whatever audio that's going through it. On top of this there's an analog multimode filter that can be used to attenuate or exaggerate certain frequencies in the sound, this is real handy while playing the springs as you can - for instance - cut all the highs and just make thunderous doomy sounds or do the opposite; cut all the lows and make that ear piercing high frequency special love. Also, it incorporates an LFO that's internally routable to the filter and that also has some external routing-stuff. The Ekdahl Moisturizer has tons of CV / Expression pedal options on the back for even more hillarious moments. The Moisturizer is a mono unit.
The Moisturizer was developed with the help of Jason Willett (Half Japanese, Leperchaun Catering), Martin Schmidt (Matmos, Instant Coffee), Joshua Atkins (Polygons, Major Powers), mom & dad and many more
An inspirational Tejano song with strong tropical flavors and a hot Spanish lead guitar.
Accordion - Lee Fitzsimmons * Lead Spanish guitar - Lee Fitzsimmons * Sparkly keyboards, Organ, and Classic analog sounds - Lee Fitzsimmons * Ibanez electric bass guitar - Lee Fitzsimmons * Drums, chime tree, shakers, and (it needs more) cowbell - Lee Fitzsimmons
This inspirational song features a very relaxing groove that is in no hurry, yet is still packed with a sheer intensity that drives it right along at a sure and steady pace. There are two main sections of the piece. The A section features a very identifiable melodic hook played on accordion and organ that instantly makes the listener pay attention and want to sing along. The B section provides nice contrasting relief by presenting a two part melodic figure played on Spanish guitar and analog keyboard. The B section is further empowered by syncopated chordal accents supplied by the rest of the ensemble.
At the bridge, a live Spanish guitar takes a quick lead and then sets up a tremendous modulation that presents the main theme that has been modulated up a whole step, as the Spanish guitar continues to dance around nimbly, cleverly weaving in and out between the nooks and crannies of the primary accordion melody. After a quick, yet effective coda, the piece ends...
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: Detail view of the outdoor showers with a large tiled curved wall.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Wood
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: WB2010-0282 Concha.JPG
Record ID: WB2010-0282
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Circulation, sound generation, modulation, by steel platen. Sound wave release into green space. Deconstruction, reconstruction, into parts component. Resultant noise delineation, outcome... .... .... phase distortion.
My MXR M169 CARBON COPY ANALOG DELAY PEDAL!
The MXR Carbon Copy Analog Delay features an entirely analog audio path, delivering rich, warm delay using old-school bucket brigade technology. The Carbon Copy boasts 600ms of delay time, with optional modulation via a top-mounted switch, and its simple three-knob layout gives you complete control over Delay Time, Mix (dry/wet blend), and Regeneration (delay repeats) - all in one incredibly compact pedal! For even more tonal options, you can also adjust width and rate control of the modulation via two internal trim pots. Giving you everything from crisp "bathroom" slap echoes to epic delays, all with the simple twist of a knob, stage-worthy blue LEDs and 9-volt operation round out this MXR Carbon Copy Analog Delay!
If you're asking what's all that? Take a look...
www.youtube.com/watch?v=FiZ95CXnPrA
Out of the box, this baby oozes great tone, and creates warm, silky-smooth repeats as you’d expect from an analog and importantly it doesn’t turn your tone overly dark as analog delays are apt to do. The Mod button adds a cool and super-subtle modulation similar to chorus, to smooth out the tone even more.
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: Detail view of the southeast portion of the lounge and pool 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
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: WB2010-0239 Concha.JPG
Record ID: WB2010-0239
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Brug verbindingsdam naar Javaeiland en KNSM-eiland
Build in 1995. Architect Hans van Heeswijk
The Verbindingsdam in the Eastern Docklands of Amsterdam was the railroad link between manmade harbour islands and a vast switchyard. For this reason, the dam and bridge traverses the water obliquely instead of going straight across.
The islands and railway yard have been redeveloped into residential areas. The railroad became tramway and capacity for other forms of traffic had to be increased. The islands had to remain accessible at all times, so the design of the bridge is in two parts to allow phased construction. To emphasize the “bridge” character, the original flat girders were replaced by arches.
Compared to its span, the bridge is extremely wide. Separating the deck into three parts provides a spatial modulation. The bridge deck is supported by beams that are suspended from above with cables running through the slits in the deck.
By night the road is illuminated from above. Spotlights from underneath cast a glow on the white painted steel construction.
Last week a co-worker said, "I have never in my life felt more like a widget than I do at this place."
Thanks, Wave Of Modulation, for the assist.
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
7/16 (L29) is one kind of thread coupling RF coaxial connector, characteristic impedance is 50ohm. The characteristics of Huajian Electronics connector are its big power, low VSWR,less attenuation, low inter modulation, excellent nature of airtight. Our products are used by ZTE,China Mobile and China Telecom. They are used in connection with feeder cables in broadcast, television, ground launch system, monitoring of radar, microwave communication fields etc. Our company also produces many kinds of 7/16 cable assembly in mass scale, which can reduce your cost.
Material:
Center Contacts: Phosphor bronze, Silver plated
Bodies and Other Metal Parts: Brass, Ni plated
Insulator: PTFE
Seal Rings: Silicone Rubber
Gasket: Silicone Rubber
Technical Specifications:
Characteristic Impedance: 50Ω
Frequency Range: 0～11GHz
Contact Resistance:
Center Conductor: ≤ 1.5mΩ
Outer Conductor: ≤ 0.2mΩ
Insulator Resistance: ≥5000MΩ
Insulator Withstanding Voltage: 1500V
VSWR: ≤1.15
Connector Durability: 500cycles
Applicable Standard: MIL-C-39012
Brand: Huajian
Color: Silver
Size: 50.3mm
"iSwarm is a swarm of luminous “sea creatures” that interact with passers-by. Subtle and hardly visible by day, iSwarm comes alive at night. As daylight fades, the cells of iSwarm illuminate the waters of Marina Bay with fluorescent light reminiscent of natural phenomena such as bioluminescent algae or the Aurora Borealis. iSwarm reacts to groups of visitors by detecting human presence and greeting them with subtle modulation of its light patterns."
Connected Vehicle SafetyCars that look out for each other
With a little warning, many traffic accidents can be avoided altogether. Enabling cars and scooters to communicate and work together may be the first step to avoid collisions and other incidents. To do this, fast and reliable communication amongst vehicles is critical, even on crowded city streets. Intel Labs, through the Intel Collaborative Research Institute for Connected Context Computing, is exploring visible light from tail lights to support high-speed data transmission over the short distances between vehicles. The technology uses direct modulation of LED tail lights to encode data in the visible spectrum, while maintaining a constant ambient lighting state. At almost no
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
amorphica.com/networked.html
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 ]
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...
Prague Castle (Pražský hrad)
For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of 45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.
Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of 45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.
History
The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.
The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.
In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.
In the 10th century the castle occupied an area of about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.
Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.
Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.
The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.
For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.
Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.
Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.
In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.
In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.
In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.
After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.
In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of invigorating them as much as possible by making them accessible to the public.
Prager Burg (Pražský hrad)
Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.
Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.
Geschichte
Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.
Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.
Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.
Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.
Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.
Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.
Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.
Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.
Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.
Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.
Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.
In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.
Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.
Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.
In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.