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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.
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.
Garland Fielder 'Octahedron Diptych', 2008-2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Jerusalem, Israel: In an outdoor, shopping-mall network of pedestrian streets, an art construction runs overhead like a canopy. It consists of a long series of closely spaced wires, strung with numerous, loosely hanging gold-colored tags. When contemplating this construction attentively, one notices a subtle modulation of light flowing through it continuously, back and forth, from end to end. It isn’t clear to me, however, whether this effect was created, simply, by gentle breezes flowing through the mall’s network of streets, or whether (the more likely case, in my estimation) it was electronically controlled.
(2/4)
The M.207 is an innovative, affordable and reliably rugged 2-channel mixer with loads of features making it perfect for the DJ looking to enhance their performance abilities.
The M.207 continues Stanton's dedication to the DJ mixer market, with an abundance of innovative features onboard. The M.207's unique user interface for controlling effects, the FXGlide, is a continuous strip touch controller utilizing the same innovative touch-slider technology that is used in Stanton's award-winning SCS.3d MIDI controller. In addition to providing real-time performance capabilities, the FX control can also be automated in real-time. This allows the DJ to create a custom modulation of the FX parameter, and then have that play back instead of the normal sweeping FX.
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
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.
The Postcard
A Wrench Series postcard that was posted in Selby using a ½d. stamp on Monday the 22nd. October 1906. It was sent to:
Miss M. Ratcliffe,
Raglan Road,
Leeds.
The pencilled message on the divided back of the card was as follows:
"Dear Mary,
Just a line to wish you
many happy returns of
the day.
I will give you my present
Mary when I see you.
I hope Mother & all are
well.
Love to the children &
all.
Lots of love,
Yours ever,
Susan."
Paul Cézanne
So what else happened on the day that Susan posted the card to Mary?
Well, the 22nd. October 1906 marked the death of Paul Cézanne.
Paul Cézanne, who was born in Aix-en-Provence, France on the 19th. January 1839, was a French Post-Impressionist painter whose work introduced new modes of representation.
Paul influenced avant-garde artistic movements of the early 20th. century and formed the bridge between late 19th.-century Impressionism and early 20th. century Cubism.
While his early works were influenced by Romanticism – such as the murals in the Jas de Bouffan country house – and Realism, Cézanne arrived at a new pictorial language through intense examination of Impressionist forms of expression.
He altered conventional approaches to perspective, and broke established rules of academic art by emphasizing the underlying structure of objects in a composition and the formal qualities of art.
Cézanne strived for a renewal of traditional design methods on the basis of the impressionistic colour space and colour modulation principles.
Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects.
His painting initially provoked incomprehension and ridicule in contemporary art criticism. Until the late 1890's it was mainly fellow artists such as Camille Pissarro and the art dealer and gallery owner Ambroise Vollard who discovered Cézanne's work, and who were among the first to buy his paintings.
In 1895, Vollard opened the first solo exhibition in his Paris gallery, which led to a broader examination of Cézanne's work.
Both Henri Matisse and Pablo Picasso are said to have remarked that:
"Cézanne is the father of us all."
-- The Death of Paul Cézanne
On the 15th. October 1906, Cézanne was caught in a storm while working outdoors. He decided to go home; but on the way he collapsed and lost consciousness due to hypothermia. He was taken home by a passing driver of a laundry cart.
His old housekeeper rubbed his arms and legs to in order to restore the circulation, and as a result, he regained consciousness.
The next day, Cézanne went out into the garden to work on his last painting, Portrait of the Gardener Vallier, and wrote an impatient letter to his paint dealer, bemoaning the delay in the delivery of paint, but later on he fainted.
Vallier called for help; Paul was put to bed, and he never left it. His wife Hortense and son Paul received a telegram from the housekeeper, but they were too late.
He died a few days later, on the 22nd. October 1906 of pneumonia at the age of 67, and was buried at the Saint-Pierre Cemetery in his hometown of Aix-en-Provence.
Gertrude Ederle
The 22nd. October 1906 was also the day before Gertrude Ederle was born in NYC.
Gertrude Caroline Ederle was an American competition swimmer, Olympic champion, and world record-holder in five events.
On the 6th. August 1926, she became the first woman to swim the English Channel. Gertrude commented:
"People said women couldn't
swim the Channel, but I proved
they could."
Among other nicknames ("Trudy" and "Gertie"), the press called her "Queen of the Waves".
-- Gertrude Ederle - The Early Years
Ederle grew up in Manhattan where her father ran a butcher shop on Amsterdam Avenue, and learned to swim in Highlands, New Jersey.
She later trained at the Women's Swimming Association (WSA), founded by Charlotte Epstein. The WSA was a historic organization whose leadership and members campaigned for Women's suffrage, and worked both to create more swimming events open to women and to increase their participation in the Olympics.
Ederle joined the club when she was only twelve and immediately took to learning the American crawl, developed at the WSA by Head Coach Louis Handley.
The same year, she set her first world record in the 880-yard freestyle, becoming the youngest world record holder in swimming. She set eight more world records after that, seven of them in 1922 at Brighton Beach. In total, Ederle held 29 US national and world records from 1921 until 1925.
-- Gertrude Ederle 1924 Paris Olympic Medalist
At the 1924 Summer Olympics in Paris, Ederle won a gold medal as a member of the first-place U.S. team in the 4×100 meter freestyle relay. Together with her American relay teammates she set a new world record of 4:58.8 in the event final.
Individually, Gertrude received bronze medals for finishing third in the women's 100-meter freestyle and women's 400-meter freestyle races. The U.S. Olympic team had its own ticker-tape parade in 1924.
-- Gertrude Ederle's Professional Career
In 1925, Ederle turned professional. The same year she swam the 22 miles (35 km) from Battery Park to Sandy Hook in 7 hours and 11 minutes, a record time which stood for 81 years before being broken by Australian swimmer Tammy van Wisse.
Ederle's nephew Bob later described his aunt's swim as a "midnight frolic" and a "warm-up" for her later swim across the English Channel.
-- Gertrude Ederle's English Channel Crossing
In 1925, the Women's Swimming Association sponsored Helen Wainwright and Ederle in an attempt at swimming across the English Channel. Helen Wainwright cancelled due to an injury, so Ederle decided to go to France on her own.
She trained with Jabez Wolffe, a swimmer who had attempted to swim the English Channel 22 times.
On the 18th. August 1925, Ederle made her first attempt at swimming the Channel whereupon she was disqualified when Wolffe ordered another swimmer (who was keeping her company in the water), Ishak Helmy, to recover her from the water.
Gertrude bitterly disagreed with Wolffe's decision, and it was speculated that he did not want Ederle to succeed.
She returned to New York and began training with coach Bill Burgess who had successfully swum the Channel in 1911. Ederle also received a contract from both the New York Daily News and Chicago Tribune which paid her expenses and provided her with a modest salary.
Approximately one year after her first attempt, she was successful in swimming the Channel. She started at Cap Gris-Nez in France at 07:08 am on the 6th. August 1926, and came ashore at Kingsdown, Kent, 14 hours and 34 minutes later.
The first person to greet her was a British immigration officer who requested a passport from the bleary-eyed, waterlogged teenager.
Gertrude's record stood until Florence Chadwick swam the Channel in 1950 in 13 hours and 23 minutes.
Prior to Ederle, only five men had completed the swim across the English Channel, with the best time of 16 hours, 33 minutes by Enrique Tirabocchi.
When Ederle returned home, she was greeted with a ticker-tape parade in Manhattan, with more than two million people along the parade route.
-- Gertrude Ederle - The Later Years
Gertrude made an arrangement with Edward L. Hyman to appear at the Brooklyn Mark Strand Theatre, who paid her significantly more than any prior individual performer.
Subsequently, she went on to play herself in a movie ('Swim Girl, Swim', starring Bebe Daniels) and tour the vaudeville circuit, including later Billy Rose's Aquacade.
She met President Coolidge and had a song and a dance step named for her. However her manager, Dudley Field Malone, was not able to capitalize on her fame and popularity, diminishing the financial potential of her vaudeville career.
The Great Depression also affected the success of her career. A fall down the steps of her apartment building in 1933 twisted her spine and left her bedridden for several years, but she recovered sufficiently to appear at the 1939 New York World's Fair.
-- The Death of Gertrude Ederle
As a result of childhood measles, Ederle had poor hearing most of her life, and by the 1940's had lost most of her hearing.
Aside from her time in vaudeville, she worked for much of her life as a swimming instructor for deaf children. She never married, and by 2001 was living in a nursing home.
Gertrude died on the 30th. November 2003 in Wyckoff, New Jersey, at the age of 98. She was laid to rest in the Woodlawn Cemetery in the Bronx, New York City.
-- Gertrude Ederle's Legacy
Ederle was inducted into the International Swimming Hall of Fame as an "Honor Swimmer" in 1965. She was inducted into the National Women's Hall of Fame in 2003.
An annual swim from New York City's Battery Park to Sandy Hook, New Jersey, is named the Ederle Swim in order to honor her, and follows the course she swam.
The Gertrude Ederle Recreation Center, which opened in 2013 and is located in the Upper West Side of Manhattan, was named for her, and includes an indoor swimming pool.
A BBC Radio 4 play, The Great Swim, by Anita Sullivan, based on the 2008 book of the same name by Gavin Mortimer, was first broadcast on the 1st. September 2010. It dramatizes Ederle's record-breaking crossing of the English Channel.
A biographical film, Young Woman and the Sea, based on the book of the same name by Glenn Stout, was produced by Walt Disney Pictures and Jerry Bruckheimer, directed by Joachim Rønning, and starring Daisy Ridley as Ederle. The film was released on the 31st. May 2024.
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
This is a tremolo that we have designed as standard sounding with LFO. Transparent and in sinusodial wave form. Extra led indicates LFO's speed. Not operable with battery.Controls: Depth, Rate--SOLD--
Garland Fielder 'Untitled' (Steel Octahedron), 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
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."
.coursework level 2 .january/february 2008
.each element was made using a different construction process .slabs .coils .modulation
.tutor: martim santa rita
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 hotel and restaurant from south.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0248 Concha.JPG
Record ID: WB2010-0248
Sub collection: resorts
waterfronts
Copyright holder: Copyright Henry Pisciotta
This came to me for repair. The Frostwave pedals are really well built and well thought out. They also sound great. This ring modulator can provide smooth tremolo effects at low frequency settings and ring modulate all the way past the audible range at HF. Plus it has a CV in and a second modulation input with blend knob. Try one if you can find one. They are cool! I don't want to give this one back.
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0013
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
In 1930 Georgia O’Keeffe witnessed a drought in the Southwest that resulted in the starvation of many animals, whose skeletons littered the landscape. She was fascinated by these bones and shipped a number of them back to New York City. She later wrote, “To me they are as beautiful as anything I know. To me they are strangely more living than the animals walking around… . The bones seem to cut more sharply to the center of something that is keenly alive on the desert even tho’ it is vast and empty and untouchable—and knows no kindness with all its beauty.” The bones provided her with interesting shapes and textures, and she painted them frequently, intrigued as much by their symbolism as by their formal potential.
In Cow’s Skull with Calico Roses, O’Keeffe decorated the skull with artificial flowers, the kind used to adorn graves in New Mexico. Tucked against the ear and the jaw, the flowers appear less morbid than simply decorative—a whimsical addition that relies on the soft, ruffled petals to alleviate the hard, polished severity of the skull. O’Keeffe then exquisitely balanced the subtle modulations of the white and gray tones of the skull and flowers with a bold vertical streak of dark brown that irregularly bisects the composition. With the skull positioned against a muted, layered ground in close proximity to the picture plane, the composition conveys a sense of the organic yet abstracted beauty typical of O’Keeffe’s art.
Showing how to assign a moltitude of rhythmic modulations in Omnisphere. It was fun doing some live sound design and get people to see how easy is to create musically rich sounds!
i took this to remember where everything went as i disassembled it to repair a broken VCO modulation slider. but everything is packed in there VERY tightly and soon after this, i chickened out and paid a tech to fix it instead. oh well... works great now!
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
Garland Fielder 'Tetrahedron Diptych', 2008-2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
I bought my self a PreenFM2 sound generator kit for my birthday in 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.
This innovative device offers unprecedented tonal variety and expression for all wind instruments. Using powerful digital processors you can twist and shape your tone for unlimited creativity whether in silent practice, the recording studio, or on-stage performance. The ST5 was designed to work especially well with the Silent Brass Pickup Mutes or with Yamaha MC7 microphone (or similar microphones). A range of 32 high-resolution digital effects including reverbs, delays, distortion, pitch change, modulation, dynamics and 4-band EQ can be used - up to 6 at a time - to alter and enhance your sound. 50 preset effect programs are provided, and memory for 50 user programs lets you store your own creations. The built-in tuner, metronome with rhythm patterns, and phrase sampler, make the ST5 a powerful practice tool. While inputs for external sources such as recordings allow real-time pitchchange so you can play along with any music.
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
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 ]
Entrance to the Faculty of Letters and Philosphy, Dorsoduro - Venice
One of Scarpa's late works, completed posthumously, it makes use of his signature extruded stepped modulation. The base unit is a 5.5x5.5cm square, which is a consequence of Scarpa's obsession with the number 11.
Garland Fielder 'Untitled' (Steel Octahedron), 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.