View allAll Photos Tagged modulation
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
Intention/Technical: My intension was to capture the shadow on the bridge using sun light. The sun light comes from the side, and it create harsh shadow on the bridge. The light source is coming exactly opposite from the directions of the shadows fall.
Reference to the reading/ Freeman page 126, In visual terms, black and white allows more expression in the modulation of tone, in conveying texture, the modeling of form, and defining shape.
Outcome/ The black and white image is visually engaging because the shadow is sharp and immediately captures the viewers’ eye.
Edits/ I prefer to present the image black and white to add some drama. it was slightly slid down exposure and shadow and up the contrast and temperature to draw the viewers’ attention to the shadow more.
"Mid-Century Modulation" by Aaron Marshall - 11" x 23" (image size only) - Original Painting - Oil & Acrylic on Board - $1,600 - SOLD
This PCB contains linear regulator circuits for the +5V and +/-15V rails together with the amplifier for the modulation meter
A picture of (from the top left) the KMUD-KLAI translator, the modulation monitor set to 88.5, the Optimod 2200 that makes sure the audio is just right, below that the exciter and below it the amplifier.
To the right is radio telephone and paging equipment owned by a company in Eureka.
The heart of my shack! This is the reason why the ESSB audio took place amongst the radio amateur stations. Superb and vivid audio modulation!!!
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 ]
I lovely evening out at Burnham on sea lighthouse,with Pixel Suzy ,Modulation Mike,aperture Andrew,and Gary clevedon clark.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: Detail view of the brise-soleils, which allows for light and ocean breezes to pass through.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
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: WB2010-0245 Concha.JPG
Record ID: WB2010-0245
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
I took this self portrait while finishing up production work on Echo One's album titled Moments of Frequent Modulation. I had set up one of my rooms to take pictures of the band, and one night, on a Friday, I decided to take a self portrait.
I like how the shadow of the microphone and "popper stopper" look in the background; I have no idea how I got that to show back there, but sometimes things happen without us even knowing.
This was taken with a Sony DSC-P71.
Like indie music? Visit my blog to hear songs I wrote. www.jesseacosta.com
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: General view of the north facade and main entrance of the hotel.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Trees
Grasses
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: WB2010-0249 Concha.JPG
Record ID: WB2010-0249
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
MIDIbox FM utilizies the Yamaha YMF262 sound chip (also known as OPL3) for generating the famous FM sounds known from Soundblaster (compatible) soundcards of the early 90s. In addition to the OPL3 specific features (6 four-operator voices, 5 percussion instruments) some software implemented modulation sources have been added to allow more expressive and very experimental sound creations.
It's my last week in Tampa and a Monday so happy for a splendid sunset.
NOFX - "Thank God It's Monday"
Monday is my favorite time of year
I'm gonna tell you what I really think I like about Mondays
Cause they feel like Saturdays
When you don't gotta go to work
Every day is a holiday
I wake up when I want to
I do anything I wanna do
Can't wait for Tuesday
I really never liked Fridays (I don't)
I can't do what I wanna do (Like to)
Sold out at the movies (Go out)
Can't eat at the restaurants (Weekends)
Everybody want a good time
But the bar's full of cigarette smoke
I think I'll stay home
I think I'll wait for Monday
I live a 5 day weekend
I gotta year long holiday
Thank God it's Monday
The only place that I gotta go be
Is at the show or on the first tee
Thank God for irony
Nevermind the aggravation, modulation
Gimme another key
I'll tell you why I like Tuesdays (Wednesday)
Cause the're kinda like Christmas (New Years)
Come to think about Wednesdays (Thursday)
Are a little like Hanukkah (Every day is good)
Thursday's Thanksgiving
I'm talking about good living
I'll think I give thanks
Thank God it's Monday
Thank God it's Monday
Thank God it's Monday
Thank God it's Monday
Thank God it's Monday
Thank God it's Monday
Thank God it's Monday
Still Life before an Open Window, Place Ravignan
1915
Juan Gris (José Victoriano González Pérez) (Spanish, 1887–1927)
In this breakthrough work, Juan Gris combined indoor and outdoor views within the same painting. The artist achieved this blend of interior and exterior through interrelated pictorial elements and subtle modulations of color, including an intense, unearthly blue that suffuses the work with a dreamy softness. The foreground contains a still-life arrangement featuring a newspaper, book, wineglass, carafe, compote, and bottle of Médoc wine on an upturned tabletop. These objects are refracted through shafts of colored light from the open window that bring the neighboring houses and trees into the composition, as well as the canopy of leaves that frames the top of the picture like an umbrella.
*
The Philadelphia Museum of Art (PMoA), originally chartered in 1876 for the Centennial Exposition in Philadelphia, opened in a into its permanent home on Fairmount, a hill located at the northwestern end of the Benjamin Franklin Parkway, in 1928. The main building's Greek Revival design was the product of collaboration of the architectural firms of Horace Trumbauer and Zantzinger, Borie and Medary, but mostly credited to two architects in Trumbauer's firm--Howell Lewis Shay for the building's plan and massing, and Julian Abele, the first African American to graduate from University of Pennsylvania's Department of Architecture, for the detail work and perspective drawings. The museum houses more than 240,000 objects including major holdings of European, American and Asian origin, spread across more than 200 galleries spanning 2,000 years.
In 2007, the Philadelphia Museum of Art was ranked #24 on the AIA 150 America's Favorite Architecture list.
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
We designed our buffers clean up your sound and allow the maximum tone from your pickups and cables to your amp. Low output impedance can send the signal through long cables without losing response and top frequencies. Not operable with battery.
The Musicians' Brawl
About 1625
Georges de La Tour
French, 1593-1652
Oil on canvas
In this painting a brawling musician lifts his arm, squeezing lemon juice into the eyes of his supposedly blind opponent. The imposter's guide gasps with dismay while the two spectators at right knowingly laugh at the spectacle of deception revealed. An early work by La Tour, this painting ehibits sharp diagonal rhythms, rapid calligraphic brushwork, and swift modulations in coloring that resonate with the violence of the subject.
Roger Fox posted this picture on facebook with this caption: "Equipment rack at WCIR transmitter site around 1967-68 ... modulation monitor at the top, remote RF meters, remote control receiving unit and at the bottom; the greatest thing in that day .. an Audimax and Volumax. The relays in the homemade box beside the telephone controlled the reduction from 10KW to 1KW for critical hour operation."
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
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
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 ]
Short youtube video here www.youtube.com/watch?v=oEP01N1Up7Y
My latest work in progress. Pin wheels are used to control the amount of light entering to the sensors, controlling frequency and modulation.
The M3A1 reconnaissance scout car, first introduced in 1939 is better known as the ''White Svout Car'' named after its U.S manufacture. It comprises a strengthened chassis with all-wheel drive, surmounted by an open-topped armoured body. This open design made it vulnerable to attack from above.
It carried a crew of two seated forward and had space for up to six passengers seated in the rear compartment. A ''skate rail'' was fitted around the vehicle for mounting 0.03 and 0.50 calibre machine guns, thus allowing for all round defence, the guns being quickly removed for dismounted use.
The windscreen was of shattered-proof glass and could be further protected by a hinged steel plate with vision slots. A detachable canvas top was provided for non-combat use. The roller at the front was used to assist crossing ditches and banks such as those encountered in Normandy in 1944.
Specifications -
▪︎Engine: Hercules JXD 6-cylinder petrol, 110bhp
▪︎Speed: 50mph
▪︎Range: 250 miles
▪︎Transmission: 4 forward, 1 reverse
▪︎Weight: 4 tons
▪︎Armament: 50 or 30 calibre machine guns
▪︎Armour: ¼ inch armoured steel
▪︎Crew: 2 plus 6 passengers.
Information from The Muckleburgh Military Collection.
Wireless Set No.19 -
The designs for this transceiver were developed by RSRE and Pye in 1940 and after producing a number of Mk.I equipments it then continued in development, emerging as the Mk.II in 1941 and finally the Mk.III in 1942. The sets were used by the British Army up to the early 1950's and by Canadian Divisions during WWII. Besides being built in the UK, the sets were also produced by a number of different manufacturers in Canada and the USA. Once designs had been customised for ease of sourcing American components, by liaison between Pye and a four man Canadian team, the firms selected to manufacture the sets were Northern Electric, Canadian Marconi and RCA Victor in Canada, and Zenith, RCA and Philco in the US.
Many Mk.II versions were made for the ''Lend-lease'' program in which much military materiel including not only smaller items such as these but also aircraft such as the Spitfire were sent to Russia to combat Nazi aggression. As a result of this programme many of the No. 19 sets still around have dual English and Russian legends on their front panels. Physical dimensions are 17.5" x 8.5" x 12.5" and it weighs in at 40lb. A range of ancillary equipment was used with the set, including dynamotor based power supply, ATU and whip aerial, combined headphones/mic and sometimes a high power amplifier.
Performance wasn't wonderful, as the set used grid modulation which reduced the range, compared with the more beefy technique of plate modulation. However it should be remembered that the set had a limited design performance in keeping with its intended operational use. As the set covered three amateur radio bands (160, 80 and 40 metres) it was popular in the 1950's when the availability of commercial equipment was limited and expensive and of course the norm was amplitude modulation in those pre-SSB days.
Using the set on ''Top Band'' the high end of which was just achievable, the set provided HF inter-tank and tank-to-HQ R/T, CW and MCW comms, over the band 2-8MHz and had a range of 10 miles R/T or 15 miles CW. The VHF inter-tank set used the ''super-regenerative'' technique and had a range of 1000 yards using a small band centred on 235MHz.
There is also an intercom facility, using a pair of 6V6's, for the tank crews. The HF part, the ‘A’ set, has an integral mechanical feature enabling, by means of a ‘flick’ switch to rapidly change between two frequencies. Use of the VHF part, the ‘B’ set, was phased out in the 1950's as the Larkspur range of VHF FM equipment came into service. The Royal Armoured Corps replaced their latest modified No. 19 Sets with the very similar C12 in the mid-50's and this in turn later by the newer C13.
Information sourced from - www.radiomuseum.co.uk/ws19.html
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.
Yamaha invented 'FM' synthesis, which involves multiple (2 or more) operators (oscillators) which can be arranged in a fashion which causes modulation to occur between operators. The first commercial synthesisers they produced were 2 operator synths. The classic DX7/TX7 synthesiser engines were 6 operator, allowing a variety of different operator layouts (including a "no FM" or "mix operators" layout). The prototype pictured in this photo taken by Aaron (tfinn) is a 4 operator model. The synth was tested and demoed by a bunch of players and then the synth itself (the rack) hacked at by Yamaha engineers.
Up L : Alex mixing soundscapes on computer
Up R : Farfisa VIP 220R, Lovetone Big Cheese & MXR Analog Delay
Down L : Mark mixing soundscapes on laptop computer
Down R : Gibson Les Paul Recording, Crest Audio Dallas Arbiter Fuzz Face (BC 109C Silicon Transistors), MXR Micro Flanger (Block Logo) & Adidas sneakers
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
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 ]