View allAll Photos Tagged modulation
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 ]
Dr. Larry Swain (pictured) presented during the afternoon Craniomaxillofacial Trauma session as well on "Mechanical Modulation for Tissue Engineering." (Photo by Steven Galvan, USAISR Public Affairs Officer)
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.
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 ]
Kate Beck
Modulation , 2010
Graphite of paper on aluminum floated in maple frame
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
Dr. Larry Swain (pictured) presented during the afternoon Craniomaxillofacial Trauma session as well on "Mechanical Modulation for Tissue Engineering." (Photo by Steven Galvan, USAISR Public Affairs Officer)
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Dr. Larry Swain (pictured) presented during the afternoon Craniomaxillofacial Trauma session as well on "Mechanical Modulation for Tissue Engineering." (Photo by Steven Galvan, USAISR Public Affairs Officer)
Kate Beck
Modulation , 2010
Graphite of paper on aluminum floated in maple frame
12 x 12 inches
PG# KB.0020
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
live at Protos Orofos. Photos by Achilleas Polychronidis
Mohammad:
Nikos Veliotis: cello
ILIOS: oscillators
Coti K: bass
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
I bought my self a PreenFM2 sound generator kit for my birthday October 2016. Half of the fun was to assemble it. My first electronic device that I soldered together myself. Lots of resistors, capacitors and ICs that has to fit according to a schematic.
What I need it for? Don't know at the moment. Learn how to program FM synth sounds. A very complicated discipline that requires knowledge in the inners of Frequency Modulation synthesis.
See ‘Jacqueline Casey. Science and design’ in Eye 101: www.eyemagazine.com/feature/article/jacqueline-casey-science-and-design
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 a model of the hotel with proposed expansion.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
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: WB2010-0260 Concha.JPG
Record ID: WB2010-0260
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Nolita, Manhattan, New York City, New York
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
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.
Melosira is a colonial diatom.
Garland Fielder 'Hexahedron', 'Octahedron', and 'Icosahedron', 2009, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
A tablet little train with 4 sounds effect buttons.
Bending: vintage joystick for modulation control on black blob and a body contact [hide in this image] in front of tablet train.
Output jack.
What: Forty Beds - Bed Building
When: Friday June 5 & Saturday June 6 – All day
Where: Carriageworks / Free
Bill Drummond will be building one of the forty beds that comprise of his Forty Beds sculpture over two working days on the footpath at Carriageworks. Those interested in winning the bed can buy raffle tickets from Bill while he works. The price of a raffle ticket will be one Australian Dollar. He will also be selling copies of his book Man Making Bed’. At the completion of his performance lecture at Carriageworks, he will draw the winning name. The artist will then personally deliver the bed to the lucky winner’s home.
What: Shoe Shining
When: Saturday 6 June, 4pm / Where: On the street outside Carriageworks
Bill Drummond will be working as a shoeshine boy on the street outside Carriageworks for an hour prior to delivering his performance lecture. Sydney-siders are invited to visit and watch the artist at work, or have their shoes shined by one of music’s most legendary figures. This performance will contribute to the sculpture 1,000 Pairs Of Shoes.
Garland Fielder 'Hexahedron', 'Octahedron', and 'Icosahedron', 2009, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Arduino running Pulse Width Modulation software with a duty cycle of 50% delivers about 2.5 volts. Arvada Colorado USA. Winter 2012.
photo by Toni Gauthier
Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) presents its annual Modulations festival in San Francisco—an 8-hour marathon of sound art installations and live electronic music. The event begins with interactive and kinetic sound installations by Trimpin and his students; evolves into a sit-down concert of electronic music; and ends with a dance party, with performances by CCMRA artists and guest performers Wobbly and Sutekh.
A simply bending: a tablet little train with 4 sound effect buttons.
Bending: vintage joystick for modulation control and a body contact [hide in this image] in front of tablet train.
§ The horizontal line of the repetitive colonnades in the gallery of the third enclosure is interrupted by the vertical line of the massive sikharas in the consecutive inner galleries • It enunciates an impressive accentuation of profound, rhythmic, legato form where veracious accuracy and enduring stability of concatenated themes and rhythms are elicited into an unity of existent reality • From plain terraces of mass to a complicated modelling of form, by attachment of wall, colonnade, and covering, the architect can achieve the non–destructive, but harmonious, modulation of form • From this viewpoint, we perceive the visual intersection of the vertical and the horizontal lines which symbolises the conciliation of agni (fire) and apa (water) where the union of these opponents induces metaphysically the transcendence of human limitation towards the great delight (mahacchanda) • The vertical line that guides our eyes to the pinnacle of central sikhara represents the aspiration and illumination of flame which rise from bottom to top and infers the spiritual elevation of beholders towards the vision (darsana) of the divine Truth (sacca) •
FARCEB - Return Of Nibiru (12")
※コメントは追って (Arts / ARTSCOLLECTIVE007)
1. Phase Modulation / 2. Return of Nibiru / 3. Traumatic Injury / 4. Filaments
♪全曲イッキ(m3u)
» 2月1週・入荷一覧
via DSZ "Just In!!" ift.tt/1SWXG9N
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0020
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
The common cathode LED display array is connected in a matrix format, with each LED module sequentially scanned, with adjustment of anode drivers to produce the required digit.
For each scanned module, the Arduino sends 18 bits of data, 10-bits for the cathode driver and 8-bits for the anode, through 3x 74HC595 serial to parallel converters. Frame rate for the display is 100Hz.
The interface uses the high speed SPI hardware, with the software simply loading 3x 8-bit bytes and triggering the h/w transfer for each in turn. Data from the first 74HC595 is passed on to the 2nd after 8 clock cycles and then to the third after 8 more.
Pulse width modulation of nLED_ON allows for brightness control. If a column is selected for update to value that column will be brighter than the others. This gives a visual indication of how which decade of the digits will be changed when the rotary encoder is turned.
I found on a very early design that sending data to the display over the conventional serial bus caused the display to freeze and turn off whilst the serial comms was being actioned.
This implementation uses a custom interface that uses 3 pins and an interrupt routine. SER_IN_EN, SER_IN_CLK and SER_IN_DAT form this interface. It is similar to SPI but runs at a relatively low speed, reducing the flicker associated with updates.
The jumper "SIDE" is only fitted on the left hand bank. This pulls down the Arduino GPIO which the s/w reads at boot-up to determine if it needs to configure itself for the left hand mapping. If the jumper is not fitted the s/w configures itself for the right hand mapping.
Ilimit is an output from the Arduino to drive a red or green LED to indicate current limit (red) or voltage limit (green).
Optical Laser Source Pt-3109
Pt-3109 optical light source can provide 1 to 4 output wavelengths to meet specific requirements, including the 650nm red source and the 1310/1550nm wavelengths for single mode fiber or the 850/1300nm wavelengths for multimode fiber, as well as other wavelengths according to customer needs. Together with the JW3208 optical power meter, it is a perfect solution for the fiber optic network characterization.
Features
• Provides dual-wavelengths output and wavelengths can be optional according to customer’s needs
• CW, 270Hz,1KHz,2KHz modulation frequency output
• High stability of the output power
• Stable output wavelength
• Backlight LCD display supports night operation
• Large LCD,easy operation
Applications
• Maintenance in Telecom
• Maintenance CATV
• Test Lab of optical fibers
• Other Fiber Optic Measurements
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.
Auditory screening tests are used to detect hearing loss. Hearing loss can be caused by a number of factors, including:
Age
Genetics
Exposure to loud noise
Certain medications
Head injuries
Infections
Hearing loss can affect people of all ages, but it is more common in older adults. It can also be more common in people who have certain medical conditions, such as Down syndrome or Usher syndrome.
Hearing loss can have a number of negative consequences, including:
Difficulty communicating with others
Difficulty understanding speech
Difficulty learning
Social isolation
Depression
Auditory screening tests are important because they can help to identify hearing loss early. Early identification and treatment of hearing loss can help to prevent or reduce the negative consequences of hearing loss.
There are a number of different types of auditory screening tests. The type of test that is used will depend on the age of the person being tested and the suspected type of hearing loss.
Some common types of auditory screening tests include:
Otoacoustic emissions (OAEs)
Brainstem auditory evoked potentials (BAEPs)
Pure-tone audiometry
OAEs are a non-invasive test that measures the sound waves that are produced by the inner ear. BAEPs are a non-invasive test that measures the electrical activity of the brain in response to sound. Pure-tone audiometry is a test that measures the softest sounds that a person can hear at different frequencies.
If an auditory screening test shows that a person may have hearing loss, they will need to see an audiologist for a more comprehensive hearing test. The audiologist will be able to determine the type and severity of the hearing loss and recommend the best treatment options.
Treatment options for hearing loss include:
Hearing aids
Cochlear implants
Speech therapy
Hearing aids are small, electronic devices that amplify sound. Cochlear implants are surgically implanted devices that bypass the damaged parts of the inner ear and directly stimulate the auditory nerve. Speech therapy can help people with hearing loss to improve their communication skills.
If you think that you or someone you know may have hearing loss, it is important to get an auditory screening test. Early identification and treatment of hearing loss can help to improve a person's quality of life. If you're From Melbourne, Australia and looking For an Auditory Screening Test in Melbourne than, Vital Hearing Clinic can be a Great option as we have well experienced audiologist of Melbourne.
How Is Auditory Processing Disorder (APD) Diagnosed?
If you think your child is having trouble hearing or understanding, hearing assessment is the first step to rule out any hearing loss.
Once the audiologist has determined no underlying hearing loss or middle ear condition, an auditory processing test battery is administered. The test battery includes a series of listening tasks which identify different attributes of listening capabilities and reflect functional acuity of different elements of the auditory pathway.
Some of the tests include auditory figure-ground tests, auditory closure tests, dichotic listening tests and temporal listening tests.
The audiologists may also perform some electrophysiological tests in conjunction with the listening tests. Generally, APD testing is conducted for a child over 6 years of age, to ensure that child is able to comprehend the tasks as well as to ensure that auditory pathways are well established.
Often the kids diagnosed with APD can develop better auditory skills over time as their auditory pathway matures and therefore adequate training in areas of deficit plays a crucial role to overcome the challenges brought upon by the auditory processing issues. These are generally discussed with the parents and teachers and may often involve other professionals such as speech language pathologists.
The audiologist also plays an important role to discuss strategies to overcome the listening barriers which allows better access to spoken speech. The audiologist may also discuss use of assistive listening devices (ALD) such as a frequency modulation (FM) system. This assistive listening device emphasizes a speaker’s voice over background noise, making the voice clearer so a child can understand it. The person talking, such as the classroom teacher, wears a tiny microphone transmitter, which sends a signal to a wireless receiver that the child wears on the ear or to a speaker box.
Additionally, there are several computer-assisted programs which are available for training as well as resources to help kids with auditory processing difficulties.
For More info, Click on the link Below : www.vitalhearingclinic.com.au/auditory-processing-test/
A couple of days ago…It was announced that kamal Hassan will be reuniting with director maniratnam after 35years for the tentatively titles film “KH 234” so, our thiraipattarai service also making a good actors for future film. And we have professional teachers to teach classes like classical acting,body language,story telling, street plays, dialogue modulation,mime,mono acting,navarasa,yoga. Today offers also available in thiraipattarai services.
A new light. These sublime jewels from nature can brings joy and instant happiness to those who connect with them. The white one was sharing her parfumn.
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.
* RAW audio format, a file type used to represent sound as pulse-code modulation data
* Raw image format, a variety of image files used by digital cameras containing the unprocessed data from the sensor
* Raw Architecture Workstation, a simple wire-efficient multicore CPU architecture
* Read after write, technologies used for CD-R and CD-RW
* "Read and write," see Input/output
* An uncompressed disk image
* A Unix file format containing insufficient information for proper screen mapping of characters. Linux User's Manual CONSOLECHARS(8)
* Sexual intercourse engaged without using a condom
Dolby demonstrated publicly for the first time its recently announced Dolby PRM-4200 Professional Reference Monitor. The world's first LCD-based video reference display that accurately reveals true and deep black levels with higher contrast across the entire color spectrum provides an unprecedented luminance range and level.
Scheduled for availability later this year, the 42-inch monitor was specifically designed for professionals who rely on the most accurate measurement tools for color-critical work. It uses a backlight comprised of red, green, and blue LEDs that are modulated individually on a frame-by-frame basis. The LCD panel is also modulated in real time as part of the dual-modulation process.
An antenna for my TDM/7300 Temporal Displacement Modulation All-Wave receiver causing fluctuations in the near-field space-time continuum.
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
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
Yamaha PSR-4600
I affectionately call this the "Albatross". Quite rare, it features Yamaha's 1st generation AWM sample based synthesis + 2 operator FM and a bit of wavetable sequencing (think TG-33 without the joystick). The patches are programmable. Includes a sequencer, velocity sensitive keys, pitch and modulation "roll bars" and MIDI.
OSC is an installation dealing with interference, slicing time and the perception of time itself that tests the senses of the viewer. Interference and stroboscopic patterns give a new dimension to the perception and experience of time. The audiovisual overload of OSC sheds light on the question how our sensory apparatus constructs meaningful experiences from information without reference.
Ulf Langheinrich (D) founded the media art collaboration Granular Synthesis together with Kurt Hentschläger. They collaborated on numerous large scale immersive installations such as Modell5, Noisegate and Areal. Since 2003 Langheinrich has realised several solo projects aimed at achieving a direct sensory impact. They focus on creating specific modulations of the projected material in time and in the projection-space, and effecting interference movements between the perceptive and processing potential of the eye-brain-apparatus.
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 a model of the hotel with proposed expansion.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
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: WB2010-0263 Concha.JPG
Record ID: WB2010-0263
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta