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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.
Up L : Fender Rhodes Stage Piano MkII
Up R : Aleks
Down L : Alex on Xylophone
Down R : Alex mixing soundscapes on laptop computer
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.
Film making s the process by which a motion picture is produced film making involves a number of complex and discrete stages, starting with an initial story idea or commission. It then continues through screen writing, casting, shooting, sound recording, etc. In Thiraipattarai also provide best services like classical acting, mono acting, mime, yoga, dance, fight, dialogue modulation, etc. and we providing a best skills like contact us:8939072777
Konzert Herbert Grönemyer
MENSCH-Tour
Letzigrund Zürich, 18. Juni 2003
Tages-Anzeiger, 19.6.03:
Eine ehrliche Haut für alle Generationen
Ein Meister der Modulation: Herbert Grönemeyer liess sich und seine Musik im Stadion Letzigrund feiern.
Von Philippe Amrein
Das demografische Grübeln geht bereits lange vor Konzertbeginn los: Woraus setzt sich die grönemeyersche Fangemeinde eigentlich zusammen? Auf seiner aktuellen Tournee «Das Beste von Gestern bis Mensch» spielt er immerhin für ein Publikum von weit über 500 000 Menschen. Nun, es findet sich der leicht angegraute Popliebhaber aus alten «Das Boot»-Tagen neben der gutmütigen Industriekauffrau, der Musikpluralist im abgewetzten «Santana»-Shirt neben dem jugendlichen Fan.
Der Meister kennt sein Publikum. Er schmeisst sich sofort in Stadionrockpose, joggt flott über die ganze Bühnenbreite und schmettert seine schnörkellose Stahlrohrpoesie mit kehliger Stimme ins Stadionrund. Nach zwei Haudrauf-Rocknummern stimmt Grönemeyer eine balladeske Nummer an, bei der ihn sein Saxofonist und ein mehrköpfiges Streicherensemble begleiten. Als auf der Videowand schliesslich ein Fan in Grossaufnahme gezeigt wird, der einen «VFL Bochum»-Schal schwenkt, hebt Herbert sofort zu seiner legendären Zeile an: «Tief im Westen, wo die Sonne versinkt.» Ein erster Höhepunkt, den er mit der Modifikation einer weiteren Zeile nachdrücklich markiert: «Bist keine Weltstadt wie Zürich.» Im Hintergrund werkelt derweil Grönemeyers äusserst versierte Band, die ihn mit modernen Grooves und souveräner Popmusik begleitet, mal stampfend und funky, mal entrückt und besinnlich. Bereits in der ersten Konzerthälfte gleiten sie dann in eine blubbernde Version des letztjährigen Superhits «Mensch». Das gesamte Publikum singt mit, und sofort kriegt man eine ehrliche Gänsehaut, die bis zum Ende des emotional und musikalisch mitreissenden Konzerts anhält. Und dann geht das dermatologische Grübeln los.
Pattern of a dual pendulum swinging a modulated red LED. The modulation is manually controlled through a microcontroller.
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.
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.
Recording segment for intro to radio class. Learning about voice modulation, inflection, and mic recording techniques. Very valuable lessons learned.
Jimmy Fabbro
BCIT 2016- Broadcast and Online Journalism
OnLine - The Performance, 1st Public General Rehearsal - Heart of Noise Festival 2014 - Opening Performance for artist Ryoji Ikeda - Stadtsaal Innsbruck. Face recognition leaks done with clmtrackr script. Code Modulation by Henner Wöhler. Direction by Bobby Rajesh Malhotra. onlinetheperformance.tumblr.com
From the museum label: This group of three still lifes exemplifies Cezanne's lifelong quest for perfection through a deliberately narrow range of subjects and objects. Here, a table, some apples, lemons or pears, a fruit dish, and a blue-grey stoneware pitcher are set alongside the theatrically arranged, curtain- like l'indienne fabric. The materiality of the objects gives them a strong presence in the space. Together they evoke the local and social context of a lower-middle class Provençal household. Cezanne's structured compositions and repetition of props across the group allows viewers to concentrate on modulations of colour and space, encouraging slow looking.
Up L : Aleks mixing Modulations Stoïques
Up R : Some stuff on table
Down L : Michel Blanc
Down R : Russian Condenser Mic & Kramer Aluminium Guitar
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.
Pattern of a dual pendulum swinging a modulated green LED. The modulation is manually controlled through a microcontroller.
The optoisolater acts as a barrier between the two circuits (the Arduino and the Dioder power). On the Arduino side, there are four infra-red LEDs that send a beam (like normal LEDs, but IR, and hidden) to the four IR sensors on the other side. These sensors then act as a virtual switch and can be powered on and off thousands of times a second (needed for Pulse Width Modulation). Because of this, the two circuits are not physically connected, and the 12V power from the Dioder's will not affect the 5v components of the Arduino.
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.
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.
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.
Sometimes, in the humdrum of existence, we are compelled to confront the liminal spaces, those thresholds between what is seen and what is obscured. The window, in all its utilitarian transparency, serves not merely as an architectural fixture but as a metaphysical portal. It frames our view of the world, a selective lens that mediates our interaction with the exterior. The image captured here—distorted, ethereal—speaks to the inherent tension between clarity and ambiguity, between the tangible and the ephemeral.
The blinds, introduce a play of light and shadow, invoking the ancient dichotomy of Apollonian order versus Dionysian chaos. They suggest a controlled revelation, a deliberate modulation of perception. The external world, glimpsed through these slats, is rendered in streaks and blurs, an abstract mosaic of verdant greens and sky blues, disrupted by the errant intrusion of an indeterminate orange hue. This interplay mirrors our cognitive processes—how memory distorts, how emotions color our experiences, how reality is often but a kaleidoscopic interpretation rather than an absolute truth.
Consider the act of looking through a window as an existential metaphor. The glass, ostensibly clear, is never truly unblemished; it is a barrier as much as it is a conduit. It separates the observer from the observed, confining us to our subjective interiors while offering a curated glimpse of the objective exterior. The window thus embodies the paradox of connection and isolation, transparency and opacity. It is through this portal that we project our yearnings, our desires for connection, and our fears of exposure.
In the transient streaks of light, we find a reminder of impermanence. The moment captured is fleeting, a temporal snapshot of a constantly shifting tableau. It is a visual ode to the Heraclitean notion that one cannot step into the same river twice. The world outside continues to evolve, to transform, while we, the observers, remain bound by the constancy of our gaze.
The photograph encourages contemplation of the nature of perception, the construction of reality, and the inevitable interplay between order and chaos. It invites us to pause, to reflect, and perhaps, to find beauty in the fragmented and the transient, in the spaces between what is and what might be.