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Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
The Roland AX-Synth's play controls: the Modulation Bar is a push-in "button" and the Touch Controller serves, among other uses, as a pitch ribbon. Thanks to this layout, playing both controls at the same time feels very natural (and not just if you have a guitar or bass background), even more so than some more common pitch/mod controls found on synth keyboards.
In addition, there's Roland's signature D Beam controller as well as a pair of octave-shift buttons, and two small pots for adjusting after-touch and volume with your thumb.
The Postcard
A Wrench Series postcard that was posted in Selby using a ½d. stamp on Monday the 22nd. October 1906. It was sent to:
Miss M. Ratcliffe,
Raglan Road,
Leeds.
The pencilled message on the divided back of the card was as follows:
"Dear Mary,
Just a line to wish you
many happy returns of
the day.
I will give you my present
Mary when I see you.
I hope Mother & all are
well.
Love to the children &
all.
Lots of love,
Yours ever,
Susan."
Paul Cézanne
So what else happened on the day that Susan posted the card to Mary?
Well, the 22nd. October 1906 marked the death of Paul Cézanne.
Paul Cézanne, who was born in Aix-en-Provence, France on the 19th. January 1839, was a French Post-Impressionist painter whose work introduced new modes of representation.
Paul influenced avant-garde artistic movements of the early 20th. century and formed the bridge between late 19th.-century Impressionism and early 20th. century Cubism.
While his early works were influenced by Romanticism – such as the murals in the Jas de Bouffan country house – and Realism, Cézanne arrived at a new pictorial language through intense examination of Impressionist forms of expression.
He altered conventional approaches to perspective, and broke established rules of academic art by emphasizing the underlying structure of objects in a composition and the formal qualities of art.
Cézanne strived for a renewal of traditional design methods on the basis of the impressionistic colour space and colour modulation principles.
Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects.
His painting initially provoked incomprehension and ridicule in contemporary art criticism. Until the late 1890's it was mainly fellow artists such as Camille Pissarro and the art dealer and gallery owner Ambroise Vollard who discovered Cézanne's work, and who were among the first to buy his paintings.
In 1895, Vollard opened the first solo exhibition in his Paris gallery, which led to a broader examination of Cézanne's work.
Both Henri Matisse and Pablo Picasso are said to have remarked that:
"Cézanne is the father of us all."
-- The Death of Paul Cézanne
On the 15th. October 1906, Cézanne was caught in a storm while working outdoors. He decided to go home; but on the way he collapsed and lost consciousness due to hypothermia. He was taken home by a passing driver of a laundry cart.
His old housekeeper rubbed his arms and legs to in order to restore the circulation, and as a result, he regained consciousness.
The next day, Cézanne went out into the garden to work on his last painting, Portrait of the Gardener Vallier, and wrote an impatient letter to his paint dealer, bemoaning the delay in the delivery of paint, but later on he fainted.
Vallier called for help; Paul was put to bed, and he never left it. His wife Hortense and son Paul received a telegram from the housekeeper, but they were too late.
He died a few days later, on the 22nd. October 1906 of pneumonia at the age of 67, and was buried at the Saint-Pierre Cemetery in his hometown of Aix-en-Provence.
Gertrude Ederle
The 22nd. October 1906 was also the day before Gertrude Ederle was born in NYC.
Gertrude Caroline Ederle was an American competition swimmer, Olympic champion, and world record-holder in five events.
On the 6th. August 1926, she became the first woman to swim the English Channel. Gertrude commented:
"People said women couldn't
swim the Channel, but I proved
they could."
Among other nicknames ("Trudy" and "Gertie"), the press called her "Queen of the Waves".
-- Gertrude Ederle - The Early Years
Ederle grew up in Manhattan where her father ran a butcher shop on Amsterdam Avenue, and learned to swim in Highlands, New Jersey.
She later trained at the Women's Swimming Association (WSA), founded by Charlotte Epstein. The WSA was a historic organization whose leadership and members campaigned for Women's suffrage, and worked both to create more swimming events open to women and to increase their participation in the Olympics.
Ederle joined the club when she was only twelve and immediately took to learning the American crawl, developed at the WSA by Head Coach Louis Handley.
The same year, she set her first world record in the 880-yard freestyle, becoming the youngest world record holder in swimming. She set eight more world records after that, seven of them in 1922 at Brighton Beach. In total, Ederle held 29 US national and world records from 1921 until 1925.
-- Gertrude Ederle 1924 Paris Olympic Medalist
At the 1924 Summer Olympics in Paris, Ederle won a gold medal as a member of the first-place U.S. team in the 4×100 meter freestyle relay. Together with her American relay teammates she set a new world record of 4:58.8 in the event final.
Individually, Gertrude received bronze medals for finishing third in the women's 100-meter freestyle and women's 400-meter freestyle races. The U.S. Olympic team had its own ticker-tape parade in 1924.
-- Gertrude Ederle's Professional Career
In 1925, Ederle turned professional. The same year she swam the 22 miles (35 km) from Battery Park to Sandy Hook in 7 hours and 11 minutes, a record time which stood for 81 years before being broken by Australian swimmer Tammy van Wisse.
Ederle's nephew Bob later described his aunt's swim as a "midnight frolic" and a "warm-up" for her later swim across the English Channel.
-- Gertrude Ederle's English Channel Crossing
In 1925, the Women's Swimming Association sponsored Helen Wainwright and Ederle in an attempt at swimming across the English Channel. Helen Wainwright cancelled due to an injury, so Ederle decided to go to France on her own.
She trained with Jabez Wolffe, a swimmer who had attempted to swim the English Channel 22 times.
On the 18th. August 1925, Ederle made her first attempt at swimming the Channel whereupon she was disqualified when Wolffe ordered another swimmer (who was keeping her company in the water), Ishak Helmy, to recover her from the water.
Gertrude bitterly disagreed with Wolffe's decision, and it was speculated that he did not want Ederle to succeed.
She returned to New York and began training with coach Bill Burgess who had successfully swum the Channel in 1911. Ederle also received a contract from both the New York Daily News and Chicago Tribune which paid her expenses and provided her with a modest salary.
Approximately one year after her first attempt, she was successful in swimming the Channel. She started at Cap Gris-Nez in France at 07:08 am on the 6th. August 1926, and came ashore at Kingsdown, Kent, 14 hours and 34 minutes later.
The first person to greet her was a British immigration officer who requested a passport from the bleary-eyed, waterlogged teenager.
Gertrude's record stood until Florence Chadwick swam the Channel in 1950 in 13 hours and 23 minutes.
Prior to Ederle, only five men had completed the swim across the English Channel, with the best time of 16 hours, 33 minutes by Enrique Tirabocchi.
When Ederle returned home, she was greeted with a ticker-tape parade in Manhattan, with more than two million people along the parade route.
-- Gertrude Ederle - The Later Years
Gertrude made an arrangement with Edward L. Hyman to appear at the Brooklyn Mark Strand Theatre, who paid her significantly more than any prior individual performer.
Subsequently, she went on to play herself in a movie ('Swim Girl, Swim', starring Bebe Daniels) and tour the vaudeville circuit, including later Billy Rose's Aquacade.
She met President Coolidge and had a song and a dance step named for her. However her manager, Dudley Field Malone, was not able to capitalize on her fame and popularity, diminishing the financial potential of her vaudeville career.
The Great Depression also affected the success of her career. A fall down the steps of her apartment building in 1933 twisted her spine and left her bedridden for several years, but she recovered sufficiently to appear at the 1939 New York World's Fair.
-- The Death of Gertrude Ederle
As a result of childhood measles, Ederle had poor hearing most of her life, and by the 1940's had lost most of her hearing.
Aside from her time in vaudeville, she worked for much of her life as a swimming instructor for deaf children. She never married, and by 2001 was living in a nursing home.
Gertrude died on the 30th. November 2003 in Wyckoff, New Jersey, at the age of 98. She was laid to rest in the Woodlawn Cemetery in the Bronx, New York City.
-- Gertrude Ederle's Legacy
Ederle was inducted into the International Swimming Hall of Fame as an "Honor Swimmer" in 1965. She was inducted into the National Women's Hall of Fame in 2003.
An annual swim from New York City's Battery Park to Sandy Hook, New Jersey, is named the Ederle Swim in order to honor her, and follows the course she swam.
The Gertrude Ederle Recreation Center, which opened in 2013 and is located in the Upper West Side of Manhattan, was named for her, and includes an indoor swimming pool.
A BBC Radio 4 play, The Great Swim, by Anita Sullivan, based on the 2008 book of the same name by Gavin Mortimer, was first broadcast on the 1st. September 2010. It dramatizes Ederle's record-breaking crossing of the English Channel.
A biographical film, Young Woman and the Sea, based on the book of the same name by Glenn Stout, was produced by Walt Disney Pictures and Jerry Bruckheimer, directed by Joachim Rønning, and starring Daisy Ridley as Ederle. The film was released on the 31st. May 2024.
Pittsburgh Generator
A dual oscillator built around two triangle core, wide range, periodic waveform generators. As a multipurpose signal generator, it can provide the basis of a wide range of complex sounds ideal for tuned percussion/noise, abrasive amplitude, frequency and timbral modulation. Tones, drones, textures, and drums to atonal, nintendo zipper/fart noises. This module was made for FM madness.
Here you can watch the fade-on effect as each time interval elapses (set to 6 seconds instead of 10 minutes during the prototyping and construction phase), and then the flip to the other hour indicator when the "hour" rolls over.
The fade is accomplished using PWM (pulse-width modulation), the method by which you make a digital (on/off) device like an LED act in an analog fashion (variable brightness). PWM means the LED is quickly switching between on and off, so fast that you don't see the flickr. If the "on" period is the same duration as the "off" period--that is, 50/50--then the LED looks half as bright as a regular LED. If it spends a little more time off than on, then it will look dimmer yet. The Arduino comes with six pins already set up to take care of the PWM effect for you; you can write to the pins as if they were analog, so that's what I'm using here. In the Arduino program (called a "sketch"), I increase the brightness value inside a loop, and the LED fades on.
Understanding the generic definition of painting as a coloured drawing, digital painting in contrast to all form of traditional painting can be characterized in two singular aspects. The first one, taken from the model of indirect method, establishes a particular process of additive and subtractive relationships through the superimposition and interaction of multiple layers subject not only to the phenomena of reflected light, such is the case of traditional veil painting, but also projected light. On the other hand, the aleatoric nature of digital process involves by definition, the use of second generation image. This fusion of a pictorial work through a concept of indirect method and graphic work through the use of second generation images opens a new field of visual exploration where its versatility has predetermined in the last decades, a creative pool of exponential growth.
The images above illustrate a basic methodology of how to begin understanding the fundamentals of digital painting as an image building process. In its initial phase, the artist has created a series of mixed media drawings on polycarbonate film specially formulated to be receptive to a wide range of drawing materials such as: graphite, charcoal, prisma color, rubbing ink, India ink, Tusche ink, litho crayon and any form of pigment and vehicle which reacts to the hydroscopic qualities inherent to the granulation of the mentioned substrate.
The monochromatic images or original drawings on the top left have been divided in two genres. The first two columns are washes where depending on the viscosity of its vehicle, the pigment will reticulate in different patterns. From the old traditions of continuous tone lithography, Tusche ink (high density pigment ink) has been the trademark of many artists in how to achieve various forms of textures and tectonic qualities. The same way we can observe above, the difference between a lacquer thinner wash and turpentine wash with alcohol applications. In contrast, the right hand columns exemplify subtractive techniques with charcoal drawing and #1-#7calibrated litho crayon halftone drawing.
In the lower portion, we observe the same drawings which have been digitalized in quadtone modality where the artist assigns to each channel a specific chromatic and tonal value. Understanding the nature of digital work with millions of colours the possibilities are infinite. In order to schematize the process, the artist divides tonal scale in four areas, shadows or low tones, lower halftones, higher halftones and highlights. By curvature effect each tonal area of the image is assigned to a specific value. In this preliminary stage of digital colorations, the artist’s decisions are somehow predetermined by the additive and subtractive relationships which will take place later on.
The final image on the right hand side or B.A.T., abbreviation taken from the French expression: “bon-à-tirer” meaning: “right to print” is an example when all four drawings have been superimposed and interacted by layers. The multiple relationships of layer interaction which can be established in addition to the use of mask, filters and tonal modulation constitutes the true potential creativity inherent to the use of second generation images.
Sony TV Model KV-35S40 in excellent working condition.
35" Trinitron Picture Tube
Digital Comb Filter
CRT Amplifier
Wideband Video Amplifier
Velocity Modulation Scanning
Display Technology: CRT
Display Size: 35 inches
Image Aspect Ratio: 4:3
2 speakers
Height: 30 inches
Width: 34.3 inches
Depth: 25.7 inches
Weight: 183 pounds
Four CD4093 oscillators with per-oscillator modulation inputs and outputs. Requires your tetanus shots to be up-to-date.
I am building a 10 watt linear amplifier for my FT817ND. Currently this puts out about 1.5 watts of amplitude modulation. But this linear amplifier ( built from an old Walford kit ) will boost the power to 10 watts. I am hoping to have some AM QSOs using it on 80 and 160 metres. The linear is currently still on the bench, but it works - you put 1.5 watts in - and lots of power comes out! Because I have little spare time it will take months to complete the project, but I hope it will be on the air by the end of 2014!
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of the poolside restaurant and lounge area located in the center of the hotel.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
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: WB2010-0242 Concha.JPG
Record ID: WB2010-0242
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
ON Semiconductor (Nasdaq: ONNN), a leading global supplier of high performance, energy efficient, silicon solutions has introduced eight new power MOSFET devices specifically designed for medium voltage switching applications. These MOSFETs are ideal for use in DC motor drives, LED drivers, power supplies, converters, pulse width modulation (PWM) controls and bridge circuits where diode speed and commutating safe operating areas are crucial and benefit from an additional safety margin against unexpected voltage transients that these devices provide.
CableFree Diamond
Full Outdoor Microwave Radio supporting XPIC and 2048QAM modulation, advanced ACM and other features up to 2Gbps Capacity.
Up to 1Gbps full duplex with up to 112MHz channel widths supported.
48V DC powered with options for ac 110-250V supply.
Can scale to 2Gbps or more with 4+0 configuration.
Available in many bands including 17, 18, 24, 26GHz
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 ]
Alain Wergifosse
création/résidence art sonore | Geluidskunst/creatie
Alain Wergifosse, l'ancien Belge des scènes experimentales de Barcelone est revenu chercher sous nos brumes et grisailles l'inspiration pour ses nouveaux projets sonores et visuels. La bas il à travaillé avec son power-trio Obmuz, avec Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez et bien d'autres. il à aussi co-organisé les festivals NONOlogic avec Eli Gras et le LEM de GTS.
Il s'installe pendant 6 semaines a la Gare Bruxelles-Congrès qu'il inondera de sons bizarres, d'architectures impossibles, d'ondes radio en très basses fréquences, de microscopies, de modulations lumineuses, d'érosions, de perturbations électro-magnétiques, de quelques dichroïsmes et d'autres abérrations temporaires des champs sensoriels dans une exposition/installation sonore/résidence/atelier en work in progress qui évoluera semaine a semaine pour aboutir le 18 février en un concert bien bruiteux mettant tout l'espace en résonance où Alain Wergiosse fera chanter les trains et flipper les rats.
Alain Wergifosse, Belg die geruime tijd in de experimentele scene van Barcelona actief was, is naar zijn grijs en nevelig thuisland teruggekeerd om er inspiratie te vinden voor zijn nieuwe klank- en beeldprojecten. In Spanje werkte hij met zijn power-trio Obmuz, met Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez en anderen. Hij organiseerde ook mee het festival NONOlogic met Eli Gras en het LEM van GTS.
Gedurende 6 weken zal hij het station Brussel Congres innemen en bespelen. We krijgen onbestaande architectuur te zien, microscopische beelden, erosies, lichtmodulatie, electromagnetische golven worden hoorbaar gemaakt. Het geheel is één groot ‘work in progress’ (atelier/tentoonstelling/residentie) dat zijn publiek toonmoment zal kennen op 18 februari in een luidruchtig klankexperiment/concert dat de hele ruimte zal doen weerklinken als een instrument. Alain Wergifosse zal de treinen doen zingen en de ratten doen flippen.
18/02/2016
Photo // Yves André - TOUS DROITS RESERVES - ALL RIGHTS RESERVED
Tel : +32 476 421 267 // yvesandre@gmx.com
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.
Species of Melosira from the salt pond site NS-1 in Heron's Head Park, San Francisco, on San Francisco Bay. This was taken with Hoffman Modulation Contrast Optics at 1,000x, from a wet mount slide. This shows the barrel structure of a single cell of this colonial diatom.
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 ]
Great power and modulation, but these suckers have been binding lately. The wheels will not spin freely which makes pedalling VERY tiring!
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.
Product Description
2.4" Wireless Digital Baby Monitor Talk Camera IR Video
This digital baby monitors set allows you to watch your baby with a portable receiver. Unlike with traditional analogue systems, this Digital baby monitor set can dynamically and automatically select best frequency for video and audio transmission. This means you can see good quality video and audio without interference including WiFi. The wireless signal can be kept private from other wireless device to ensure security.
Product Features:
►Baby monitor wireless kit
►LCD color screen with high resolution
►Stable signal and anti-jamming technology
►Portable monitor helps you to keep an eye on your baby while you are not around him
►Built-in microphone for both camera and LCD receiver support you talk with your baby
►200m transmission distance without block
►With built-in rechargeable Li-battery, works for nearly 3 hours
►Great protection for each family who has a lovely baby
►Can also be used in many different security purposes
Product Specifications:
LCD Receiver:
►LCD: 2.4" TFT LCD color screen
►Definition: 480 (W) x 240 (H)
►Receiving signal: Video& Audio
►Frequency: 2.400~ 2.483 GHZ
►Sensitivity: ≤-85dBm
►TV system: PAL/ NTSC
►Modulation model: GFSK
►Battery: Built in 3.7V/ 350mAh Li Battery
►Switch off: when power supply below 3.3V
►Working temperature: -10~50℃
►Power: DC 5V/ 800mA
►Power consumption: less than 3W
►Color: White
►Size: 123 x 72 x 24 mm
►Weight: 200g
Wireless Camera:
►Image device: CMOS Image sensor
►TV system: PAL/ NTSC
►Valid pixel: PAL: 628 x 582 NTSC: 510 x 492
►Horizontal definition: 380 TV line
►Scan frequency: PAL/ CCIR: 50Hz, NTSC/ EIA: 60Hz
►Minimum illumination: 3Lux/F1.2
►Frequency: 2.400~ 2.483 GHZ
►Transmission signal: Video and Audio
►Transmission distance: 200M (in open area)
►Night vision: 10m
►Power supply: DC 5V/ 800mAh
►Battery: Built in 3.7V/ 350mAh Li Battery
►Power consumption: less than 1W
►Working temperature: -20~60℃
Packing including
►1 X Wireless LCD Receiver
►1 X Wireless Camera
►2 X power adapters (UK plug, 100-240V, 50/60Hz)
►1 X English Instruction Manuals
sevenpanda.com/2.4-Wireless-Digital-Baby-Monitor-Talk-Cam...
►1X Earphone
►1 x AV-Out cable
►1 x Antenna
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.
We produce this model as “Pick-up Activator” FET design preamp for bass guitar, under “Alen Geere”, our other brand. This is electric guitar version that boost the signal +5dB at maximum volume level. It has improved tone control and a switch for boost/cut between 200-800 Hz of frequencies. This option bring all humbucker-loaded guitars to standard “Tele” side an incredible way. High input and low output impedances are ideal for driving long cables. It’s also suitable with bass.
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: General view of the west facade of the hotel, including the center pool and lounge area.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
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: WB2010-0240 Concha.JPG
Record ID: WB2010-0240
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Oh, to explain the wonder that is leaving one's place of employ as the sun comes bombarding across the sky. People always comment on how crazy it must be to work from midnight until 8 in the morning, but I love it. It's misbehaving. It's wrong. Sick and lovely and wrong.
I viewed this lovely set from Wave of Modulation and had a tiny orgasm.
I love the sun, don't be mistaken. However, I fucking love the night.
This Boss CE-2 Chorus clone really turned out great. I did one of these some time back using the Madbean Pork Barrel board and an MN3007 bucket brigade chip. Great sound. The last great Boss Chorus circuit, IMO.
Sometimes when I was banging away with a humbucker-equipped guitar I'd hear a little distortion, though. So I started thinking about building one of these with a 3PRR board for 12 volt operation.
I decided to do it up right. Nice powder-coated steel enclosure. I got a Fulltone 3PDT switch. Vintage Dakaware knobs. The whole enchilada. Expensive pedal to build, really. Those enclosures are $30. I think the switch was like $16. The bucket brigade and clock chip pair was something like $20.
Turns out that extra voltage is exactly what the circuit needed, though. It's extremely well-behaved now. On paper it seemed like the additional headroom wasn't going to be all that big a deal, but it was enough to make it a much nicer pedal.
By the way, you can see how I always set it. Slowest speed and deepest modulation. I was telling someone I know that I always feel like just leaving it running at this setting because there's almost nothing I play that doesn't sound good to me like this. He's all, "Yeah, it works for Robin Trower!" Which actually kind of is what Trower does with his Univibe.
That two-tone blue is a cool color, incidentally. It looks like a normal blue in the oven up until the last few minutes and then the upper layer of dark blue begins to contract and expose the layer of light blue below it. The first time I saw it happening I thought I'd screwed up somehow. I'm like, "What's going on!?!?" Chill, bro...that's how it do. Heh...
Ween has always occurred to me as a musical chameleon. You want thrashy, idiotic punk? Ween can do that. Do you want a moving, emotional ballad? Ween can do that, too. Do you want an obviously drug-fueled voyage into dissonant sound and grating, nonsensical vocals? Ween can serve that up hot with a side of grits.So, it shouldnt seem strange that Ween can do country, and country is what you get in 12 Golden Country Greats. Now, country is a genre of music I tend to admire from afar - I never want to get too close, lest I start feeling urges to square-dance with a ten-gallon hat and tight jeans. So having Ween do a country album gave me the excuse to get into country, even if it was largely the Ween version. But then again, a little parody never hurt anyone, and this album is a must for Ween fans and anyone who wants a little absurdity with their country.Ween pulls off the endeavor by bringing in a bunch of ringers (some of whom they name during songs), who obviously have the whole country thing down to a T. Although Dean Ween is by all accounts one of the most talented guitar-Gods around (or, at least, by all my accounts), he probably couldnt handle a steel guitar too well, so Ween took this concept to its logical conclusion and brought in fiddlers, steel guitarists, a drummer, etc., which give almost all the tracks a good, solid grounding in the basics of the genre. The Ween-ness is brought in courtesy of the lyrics; for a Ween album, the vocals are mostly straight and modulation-free, so its up to the lyrical content to remind you that yes, these are the same guys behind such timeless classics as Touch My Tooter and Fat Lenny.The lyrics make the album, sometimes going light on the absurdity (Japanese Cowboy, Powder Blue) to laying it on thick (You Were the Fool, Im Holding You) to just being downright hilarious (Piss Up a Rope, Help Me Scrape the Mucous Off My Brain). For Ween fans, I suspect, the lyrics are where its at, because even after you know what Ween is going to say in a given song, its still somehow fresh and funny the tenth time you hear it. The lyrics shine for most of the time in 12 Golden Country Greats, with comedy being the main aim, though sometimes the only joke is hey, look, were doing country!Musically, the songs are generally catchy and well-paced. Since I dont know country very well, I can only postulate that the songs reflect a range of country styles within country itself - nowhere is this more apparent than in the cheerfully homophobic Mister Richard Smoker, which seems to be plucked out of the days of ragtime, and the almost normal I Dont Want to Leave You On the Farm, which I can only assume is closer to bluegrass. I could be wrong, but I dont really care. The only song that really drags for the casual listener not familiar with Weens forays into the lengthy, annoying song that never seems to end (Black Jack, anyone?) is Fluffy. But Fluffy is probably the funniest piece here, and sucks you in to its world of lazy front porches and excited dogs with its slow-motion, warped approach.So, overall, this album is musically solid, lyrically brilliant, funny, and delightfully misnamed. Where the remaining two golden country greats went, only Ween knows, but Gene and Dean turn in a 10-song tribute/mockery of country that stands out as being both authentic and ridiculous. On a personal note, I was once dating a girl who was a true country fan. Wondering if she might like this album, I played it for her. She was horrified. But, as I said before, if youre a fan of Ween, this album cannot be missed, or left on the farm. For More 5 Star Reviews 12 Golden Country Greats [Explicit]
Born in the year 2715 to Fred and Roberta Starks of Earth, Crytala grew up in a very happy family setting. She was a very smart little girl in everything she did, but at 8yrs old she was being bullied in school, so her father had her enrolled in every form of martial arts he could think of, considering the fact that his daughter was an only child. So for her protection, he had her trained not withholding her education. By the time she reached college she majored in communications.
She became one of the greatest and most widely students known in the field of communications. And was accepted at the Belstar Space Academy in the year 2712 and majored in Universal Language Translation, Frequency and Range Modulation, Psychology, Pyschometrics, and Physics. While attending Belstar Space Academy Crytala met a fellow student Bodar, and fell in love with him. They spent a lot of time studying and working together, until Bodar had to dedicate his time and effort on The Phantom. After that they didn't see much of each other. So Crytala requested to be communications chief aboard The Phantom, to be close to Bodar. Bodar doesn't realize how Crytala feels, but out of his respect for their friendship and her qualifications, he takes her on as communications chief. And her adventure begins.
Crytala Starks (2007) Dingis Comics. art by Dingiswayo Norris July 27, 1966 - September 6, 2009
named after a wonderful, highly complex bossa nova song with an unimaginable number of modulations in its short length. This butterfly is equally complex and short-lived.
Here's a link to Andy Williams' version www.youtube.com/watch?v=v7n7BeJbQoc
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 an old CB walkie-talkie, working in the Citizen Band on AM modulation, on 26.975 & 27.065 & 27.125 Mhz. Output power is less than 100mW.
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.
live at Protos Orofos. Photos by Achilleas Polychronidis
Mohammad:
Nikos Veliotis: cello
ILIOS: oscillators
Coti K: bass
Here is a very versitile and colorful sounding board finished this week for a local client.
The signal chain is as follows: Custom interface---Boss TU-2---Budda Wah---Bad Karma pedal---EH Phaser--EH Big Muff---Line Space Chorus--Boss FV-500L--TC Nova--Line 6 Verbzilla--Empress Tremolo---Interface.
The Interface is set up to switch between to guitars and a mic in and out for the Line 6 DL4 to be used on vocals.
Pretty much everything is covered: Modulation, Dist, Delay, Wah, Trem.
These modifications of this Gristleism are identical to the modifications made by A.S.M.O. and used by all four members of Throbbing Gristle at their last gig on 23rd October 2010 at Village Underground, Hackney, London, UK. The Gristleism has an added LFO circuit which modulates the pitch and rhythmically triggers the loops. The LFO has 5 controls" speed, depth, wave shape and two momentary switches to engage the modulation and loop trigger. There is also an added switched jack output to connect to larger amplification.
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.
The peony is named after Paeon (also spelled Paean), a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower.
The family name "Paeoniaceae" was first used by Friedrich K.L. Rudolphi in 1830, following a suggestion by Friedrich Gottlieb Bartling that same year. The family had been given other names a few years earlier. The composition of the family has varied, but it has always consisted of Paeonia and one or more genera that are now placed in Ranunculales. It has been widely believed that Paeonia is closest to Glaucidium, and this idea has been followed in some recent works. Molecular phylogenetic studies, however, have demonstrated conclusively that Glaucidium belongs in Ranunculaceae, but that Paeonia belongs in the unrelated order Saxifragales.
Peony or paeony is a name for plants in the genus Paeonia, the only genus in the flowering plant family Paeoniaceae. They are native to Asia, Southern Europe and Western North America. Boundaries between species are not clear and estimates of the number of species range from 25 to 40.
Most are herbaceous perennial plants 1.5 - 5 feet (0.5 - 1.5 metres) tall, but some resemble trees up to 5 - 10 feet (1.5 – 3 metres) tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer.
Over 262 compounds have been obtained so far from the plants of Paeoniaceae. These include monoterpenoid glucosides, flavonoids, tannins, stilbenoids, triterpenoids and steroids, paeonols, and phenols.
Biological activities include antioxidant, antitumor, antipathogenic, immune-system-modulation activities, cardiovascular-system-protective activities and central-nervous-system activities.
The herb known as Paeonia (Bai Shao, Radix Paeoniae Lactiflorae), in particular the root of Paeonia lactiflora has been used frequently in traditional medicines of Korea, China and Japan. Research suggests that constituents in Paeonia lactiflora - paeoniflorin and paeonol - can modulate IgE-induced scratching behaviors and mast cell degranulation.
HMJ300I-TDD
SoleNode IP Mesh Rack Style Microwave Video Transceiver
HMJ300I-TDD transceiver combined with other SoleNode Transmitter to create a fluid self forming, ad hoc, mobile and dynamic surveillance mesh network.
Just using a single frequency to route video, voices and data, GPS/Beidou 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.
Highly flexible mesh topology ensure video, voice and data, GPS/Beidou 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.
The HMJ300C-TDD transceiver incorporated with a rapid deployment IP camera system, that build-in mesh radio, IP encoder and battery into a dome chassis, sealed design meet IP66, ideal for rapid outdoor deployment.
Optional AES128 or AES256 encryption make safe and secure link.
Using provided Commander PC software application in-build mapping display to configure and remotely monitor the deployed mesh 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%...
You may visit our website en.hmjtx.com for more information, or send your inquiry directly to my mail sales@hmjtx.com;
More information, please visit our website at en.hmjtx.com, detailed datasheet available
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.