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Cynthia Castillo - Networked fabrication for Urban Provocation - Amorphica Design Research Office
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 ]
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.
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
HMJ300C-TC
SoleNode IP Mesh Carry Case
Microwave Video Transceiver
HMJ300C-TC transceiver combined with other SoleNode Tx/Rx to create a fluid self forming, ad hoc, mobile and dynamic surveillance mesh network.
The Carry Transceiver Case for rapidly deployment and ideal for emergency tactical video surveillance performance. It can decode and display 4 separate channels video, i.e. viewer can observe real-time video in 4 different locations or four views from one locations, 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 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-TC 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.
www.dropbox.com/s/sqft3gycu6nyg85/IP%20Mesh%20Vdieo%20Tx%...
More information, please visit our website at en.hmjtx.com, detailed datasheet available on request.
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: WB2010-0261 Concha.JPG
Record ID: WB2010-0261
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
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 ]
words from the New Forms Facebook event page:
Sound Migrations is a unique collaborative project which began when Meredith Bates, an award-winning violinist, invited interdisciplinary artist and musician Lief Hall and visual artist Josema Zamorano to co-create an improvisational music-video performance as the final part of her artist residency at Western Front.
Their collaboration converged, looking for a dialogue between aural, visual, and spatial experiences, reflecting on migrations and the living transformations that are part of it: sound becoming body movement, voice becoming ocean waves, music becoming awareness of space, wind becoming texture, the forest becoming cellular copulation, colour becoming mood, perception becoming the environment itself.
The video-performance by Josema Zamorano was created in dialogue with the moment by using a digital camera as instrument to "play" two photomontages that depict abstracted landscapes.The imagery, read via body movements and gestural modulations over the lens, was processed in camera to produce moving colour fields, projected live throughout the venue.
A 1995, 'V.34 (28800)' Zoom Telephonics FaxModem
Details :
PCMCIA V.34 28800
Card Type : Fax, Modem (asynchronous)
Maximum Data Rate : 28.8Kbps
Maximum Fax Rate : 14.4Kbps
Data Bus : PCMCIA Type II
Fax Class : Class I & II
Data Modulation Protocol : Bell 103/212A
ITU-T V.21, V.22, V.22bis, V.23, V.32,
V.32bis, V.34
Rockwell V.FC
Fax Modulation Protocol : ITU-T V.17, V.21CH2, V.27ter, V.29, V.33
Error Correction/Compression : MNP10, V.42bis
NEWS!
"Zoom V.34XE FaxModem named price/performance leader by PC Professionell magazine.
Boston, MA, Feb. 12, 1996 - The Zoom FaxModem V.34XE has been chosen as the price/performance leader by PC Professionell magazine in a comparison of 14 competing V.34 external faxmodems selling in Germany. The award was announced in the February 1996 issue of PC Professionell, a leading German monthly computer trade magazine published by Ziff Verlag GmbH, a subsidiary of Ziff-Davis Publishing Company.
In its review, PC Professionell commented: "The V.34XE FaxModem, a first-time participant, skyrocketed to the front of the pack." The review concluded that the V.34XE's high connectivity and throughput performance, extended status reporting lights, and reasonable cost, plus Zoom's service and 7-year warranty "left the competition behind." "
A nice example of an 'early' modem thats had minimal use. Comes boxed with all cables / connectors, user manual and software you'll need.
Websites :
www.zoomair.com/techsupport/dial_up/external.shtml
www.zoomair.com/techsupport/dial_up/2836C.shtml
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
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 ]
After almost eighteen years of deceptive silence, Brazen is back with Distance, an ambitious indie-rock epic where melancholic modulations and vocal harmonies intertwine on a soaring instrumental carpet. The eight tracks that make up the album are characterised by refined songwriting, carried by an epic breath that makes each track a journey in its own right. Composed, arranged and recorded remotely between London and Geneva over the course of almost a decade, the album is as musically polished as it is rich in narrative twists. The meticulous care taken in its conception gives it a timeless character that in no way detracts from its emotional intensity.
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 ]
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 ]
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.
Normally I don't mess around too much with Photoshop but I gave in to the urge with this one. This is one of Wave of Modulation's photos of my daughter.
WofM, hope this is OK with you!
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.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of the south entrance of the hotel.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Plants
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0255 Concha.JPG
Record ID: WB2010-0255
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
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 ]
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
Flower
This flower was interesting in color with its mini stars jutting from the center, but I really enjoyed it more when I converted it to black and white. I really wanted to reach over and touch the little stars.
Freeman: Removing the quality of color from an image enhance its other qualities. With the modulation entirely in tone, the eye pays more attention to texture, line, and shape.
The softness and texture really stood out with this tonal change.
Edits: B/W adjustment: decreased reds/purples/greens, increased yellow/blues. Smart Sharpened, spot healing. CRF: increased whites, slight vignette.
A small boat sets out from Waterford, upon a huge water, under the protection of the lighthouse at Hook Head. The old mariners’ hymn, Eternal Father, strong to save comes to mind; preferably accompanied by a brass band on a street corner on a cold day, the sidewalks still wet from recent rain, somewhere in working-class north-east England; all growling harmonies and that minor-key modulation, unique in hymn tunes, in the third line.
Let’s hope they return safely; on the day I’m sure they did for the weather turned out fine. But this is a fatal shore, unfriendly to misadventure and casual landings and with a long record of maritime losses.
This is how my bad Arduino code writing skills sound through my Solid State Tesla Coil. My coil is receiving tone signals via fiber optic cable from my Arduino in the next room.
Garland Fielder 'Untitled' (Steel Octahedron), 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
We discovered this Metal-cased Weather-proof Olympus MJU 810 by accident. The vendor said it might have a LCD-screen flicker problem. We spent Christmas checking-out this odd visual "feature" - which was being exhibited by the LCD back-light when previewing a fluorescent lit room. The LCD Back-light was strobing brighter (gaining up?), during the lower modulation luminance from the Fluorescent room lighting. As it wasn't suffering any real malady, we adopted into our Digicam Family, just like any stray Moggie we discover!
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.
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 goal was to show the lock on the door and all the texture of the metal door.
Freeman states that black and white allows more expression in the modulation of tone, in conveying texture, the modeling of form, and defining shape.
This image met my vision by showing the contrast of smoothness of the lock and the texture of the metal door.
The image was converted to B&W, some texture was added, the highlights increased slightly, and the shadows lessened.
The layering corresponds to Milankovitch cycle.
Unit: Morbiokalk (limestone), Lias
Graham P. Weedon:
"The 21 000 year (21 ka) precession cycle was detected in all three cases, the 100 ka eccentricity cycle in two cases and the 41 ka obliquity cycle in one. Filtering revealed that the supposed 21 ka sedimentary cycles are grouped into packets of four or five small and large amplitude cycles. The packets reflect the 100 ka modulation of the 21 ka precession cycle. Local disruption of the packaging can be used to locate hiatuses in pelagic strata."
source: jgs.lyellcollection.org/cgi/content/abstract/ 146/1/133
These plushie steaks glow alternatingly, governed by an arduino board running pulse-width modulation software. I silkcreened the steak pattern myself!
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.
A Cyanobacterial filament glides under the filamentous algae. Cells and chloroplasts are clearly visible inside the cell walls. Photomicrograph taken with a Coolpix 885 at 3x zoom, using an Olympus microscope equipped with Hoffman Modulation Contrast optics, oil immersion at 1,000x magnification.
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0021
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 Enterprise (NCC-1701-D) was a Galaxy Class Starship. She was 43 decks think. 1701-D was the fifth Starship to bear the Name Enterprise. She was launched from Utopia Planetia Ship Yards at Mars in 2363 and Commissioned in 2364. She would be launched under the Command of Captain Jean-Luc Picard. It would turn out that he would be her only Captain. In 2371 in an attempt to prevent Soren and the Duras Sisters from Destroying the Veridian Star Lt. Commander Geordie LaForge was kidnapped and released. Unknown to him his visor relayed the Enterprise's Shield Modulation and were able to penetrate the Enterprises Shields in battle. " They have found a way to penetrate our shields". "Lock PHASERS and RETURN FIRE". The battles resulted in damage so bad that the warp core lost containment. Everyone evacuated to the saucer section and the ship separated. The Warp Core Breached destroying the Star Drive and it also caused damage to the nearby Saucer Section knocking out helm control and they crashed into the surface of Viridian III. The Enterprise Could Not be salvaged. In 2372 Captain Picard was given another more advanced Starship. A Sovereign Class.
U.S.S. Enterprise (NCC-1701-E) the sixth Federation Starship To Bear the name.
USS Enterprise NCC-1701 Constitution Class.
USS Enterprise NCC-1701-A Enterprise Class
USS Enterprise NCC-1701-B Excelsior Class
USS Enterprise NCC-1701-C Ambassador Class
USS Enterprise NCC-1701-D Galaxy Class
USS Enterprise NCC-1701-E
OnLine - The Performance - Premiere - Venice Biennale of Architecture 2014 - Fundamentals, Salon d'Armi, Arsenale, opening day, 7th June 2014, Venice, Italy. Face tracking, clmtrackr portrait leaks. Code modulation by Henner Wöhler.
This Lexus did not come equipped with Sirius satellite radio, so Shore Cellular added factory-style Sirius capability right through the existing radio. No FM modulation or distorted sound, just high-quality Sirius audio.
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
Top trace: VCO (voltage-controlled oscillator) output. Bottom trace: 8.2Hz modulation signal from phase-shift oscillator. This version has a 1.0μF coupling capacitor between LFO and VCO, and exhibits a little bit of high-frequency oscillation.
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 ]
Avantalk BTDG-20 with patent design is a super small Bluetooth dongle, suitable to connect PC all the time - No need to plug and un-plug anymore. 3 times faster than normal Bluetooth.
Specification
General Radio
--Bluetooth Class 2: 20 meters (in open space)
--Carrier Frequency: 2.4 ~ 2.483GHz
--Data Rate: Up to 3Mbps
(The maximum operating range depends on the environmental factors.)
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Bluetooth Standard
--Bluetooth v2.1 + EDR
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Spread Spectrum
--FHSS (Frequency Hopping Spread Spectrum)
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Modulation Method
--GFSK (1Mbps), ¦Ð/4-DOPSK (2Mbps)
--8DPSK (3Mbps)
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I/O Interface
--USB version 1.1
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Input Power
--DV 5V (USB Power)
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Sensitivity
--/-82 dBm (typical), GFSK
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RF Output Power
--13 dBm (typical), GFSK
------------------------------------------------------------------------------------
System Support
--Windows XP/2000/ME/98SE/Vista
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Bundled Bluetooth Software
--IVT 2.7
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Supporting Profiles
--Serial Port Profile
--Dial Up Networking Profile
--File Transfer Profile
--Human Interface Device Profile
--Hardcopy Cable Replacement Profile
--Headset Profile
--Object Push Profile
--Synchronization Profile
--LAN Access Profile
--FAX Profile
--Personal Area Networking Profile
--Advanced Audio Distribution Profile
--Audio Video Remote Control Profile
--Basic Imaging Profile