View allAll Photos Tagged modulation
Back in my late teens through my mid 20's my big hobby was amateur radio. I had a Yeasu FT-2400 and hung out on the 2 meter FM band. Most of the time I would just chat with other local hams and developed a couple of friendships. The 2 meter band with repeaters would usually get you a range of 50 miles or so from your location.
This QSL card is from the night of September 14th 1997. A night I will never forget as both a ham radio operator and a scanner and radio enthusiast. It started as I left work at midnight, I turned on the radio as I started the car and I could tell that something was going on over 2 meters..
I got this call from friend of mine on the Hampton Minnesota Repeater (147.360 K0JTA)
N0ZBM to N0RCX, ya out there Scott?
Go ahead Mark!
Scott 2 meters is going insane, lets meet at the field day location and see what we can get for signals above the fog bank
"Sounds great, I'll meet ya there".
I always carried my radio log in the car incase something ever good happened and that night was the night. Repeaters were transmitting over each other, if you would "key up" you could trip 5 or more repeaters.
This night I had many out of state contacts, I made contacts with people in Iowa, Nebraska, Kansas, Missouri, Wisconsin and Michigan, This is record of a contact I had with KB0ZIX, Darrell in Harper Kansas.
Not was the amateur bands going crazy but so were other parts of the VHF band. I was listening to fire departments in Iowa and Missouri being paged out. Skip was competing with our local radio stations also.
The coolest thing I heard that night was on our local National Weather Service channel KEC65 out of Chanhassen Minnesota. When I tuned in I was receiving KIG76, the National Weather Service out of Paducah Kentucky transmitting on a transmitter out of Evansville Indiana over our signal and it was just as loud and clear as ours, completely overpowering our signal for a couple of minutes. It was unbelievable
Realistic Navaho TRC-441 Base CB, manufactured in 1978. This model is similar to the TRC-440, but has an LED channel display and Modulation indicator LED. Both models were great basic CB base stations.
I am looking for more information on this 1960's artifact used for Earth-to-CSM-spacecraft communications testing for Apollo.
The original “USB” (Unified S-Band) was a common communication channel used during the Apollo missions. With just 20 Watts, they could communicate with Houston from the moon (across 239,000 miles). And a single antenna combined voice, television, command, tracking and ranging.
After nine months of effort, the incredible team of Curious Marc, Ken Shirriff and Mike Stewart have revived my 50+year-old Apollo S-Band communications system, using my ground support equipment and the vintage Apollo CSM transponder. In the most recent episode, they powered it up and got the Apollo transponder to lock bidirectionally, with the original NASA test transmitter and receiver, which we both restored to their original Apollo frequencies.
An artifact from the Future Ventures’ 🚀 Space Collection.
Today I began painting up the box art model for the MPC upgrade kit; currently just pre-shading and modulation.
I'm using Tamiya XF Black through a cheapo airbrush, and hand-brushing high contrast highlights with XF White.
Because of the relatively poor surface detail on the MPC this technique ought to add a new dimension to an otherwise plain surface.
I took this on it's maiden voyage today up Mt. Shasta, to almost 8,000
feet above the sea, then enjoyed a 14 mile twisty descent averaging 37mph. There was plenty of high-speed hairpinning to test a prototype brake...
My opinions: this brake is more powerful than the Racer (due to the shorter arms?), with at least the same smooth modulation, maybe better. There's never a point where you can't keep applying more power.
It eats a 40mm Honjo fender, no problem. 35mm cyclocross tires fit too, but not with what I'd call mud clearance. I imagine the sweet spot on this brake will be a 25-32mm tire with fenders.
There are still some design elements to tweak, but it's gettin' close. And nope, I've not a clue when they'll drop.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
William Basinski
Book :
Modulations
Une Histoire De La Musique Électronique
Peter Shapiro & Caipirinha Productions
Éditions Allia
2007
CD :
Frank Bretschneider & Peter Duimelinks
Fflux
Brombron
BROMBRON10
Design . Lenno Verhoog
iMusic :
Ryoji Ikeda
Variations For Modulated Sinewaves
Raster - Noton
RN20TO2000
GMAhz ...
From Wikipedia;
James Deering (November 12, 1859 – September 21, 1925) was an industrial executive in the family Deering Harvester Company and subsequent International Harvester, a socialite, and an antiquities collector. He is known for his landmark Vizcaya estate, where he was an early 20th-century resident on Biscayne Bay in the present day Coconut Grove district of Miami, Florida. Begun in 1910, with architecture and gardens in a Mediterranean Revival style, Vizcaya was his passionate endeavor with artist Paul Chalfin, and his winter home from 1916 to his death in 1925.[1]
Early life
James Deering was born in 1859 in the western Maine town of South Paris. He was the son of William Deering and his second wife, Clara Hammond Deering. His older half-brother was the arts patron Charles Deering.[2]
His father, who had inherited the family woolen mill and was landowner in the Northeast, invested in a farm-equipment manufacturing company, renaming it the Deering Harvester Company. In 1873, he moved the family to Chicago, Illinois. New 'Deering Harvester Company' reaper machinery enabled Midwestern United States farmers to harvest an acre of grain per hour, a substantial increase in productivity that increased the profitability of Midwest agriculture significantly. The Deering Harvester Company grew in value, so that by the end of the 19th century, the Deerings had become one of America's wealthiest families, although his father William was conservative in family spending. His parents did acquire a residence in St. Augustine, Florida, for the winter season. James Deering's older brother Charles joined the family business in the 1880s, after attending the United States Naval Academy and nine years in the Navy. James Deering attended one year each at Northwestern University and the Massachusetts Institute of Technology before also joining the company at the same time.
Career
James joined the Deering Harvester Company in 1880 as treasurer. In 1902, with the Bank of J.P. Morgan purchasing Deering Harvester Company and McCormick Reaper Company, a resulting merger formed the International Harvester corporation and the largest producer of agricultural machinery in the nation. James Deering became vice-president of the new corporation, responsible for the three Illinois manufacturing plants. In 1909, he was phased out of daily company affairs by J.P. Morgan interests.
By the turn of the century, James Deering owned homes on Lake Shore Drive in Chicago, in the countryside near Evanston, Illinois, in New York City, and in Paris, France. His name appeared in social columns as an arts connoisseur, socialite, international traveler, and cultural ambassador. He hosted events for French dignitaries at his New York and Chicago residences. In 1906, for Deering's work in promoting agricultural technology development in France, he was awarded the Légion d'honneur ("National Order of the Legion of Honour").
He retired from the vice-presidency of International Harvester, with his health weakening due to pernicious anemia, so in 1910, Deering purchased land in Coconut Grove, south of Miami and north of his brother's Charles Deering Estate. James Deering and Paul Chalfin then partnered to travel and create 'Vizcaya' there.[3] James Deering never married.
James Deering built Villa Vizcaya between 1914 and 1922 with visionary mastermind of the project, designer Paul Chalfin, his collaborator companion. The architect was F. Burrall Hoffman Jr.. The estate's landscape master plan and formal gardens were designed by Colombian landscape designer Diego Suarez. Paul Chalfin had attended Harvard, trained as a painter at the École des Beaux-Arts in Paris, and was an associate of renowned decorator Elsie de Wolfe. She introduced Chalfin to Deering for the interiors of his Chicago home in 1910. In 1910, Chalfin and Deering traveled through Europe together for the first trip of many over the years, in part to collect ideas and begin acquiring art, antiquities, and furnishings for the new Florida estate. The culmination of their shared effort and lasting memorial to their creative relationship is Villa Vizcaya, the Miami estate created between 1914 and 1923.[4]
The Villa Vizcaya is distinguished for its Italian Renaissance-inspired Mediterranean Revival architecture, its huge Italian Renaissance revival gardens, and sumptuously designed, detailed, and executed interior architectural elements with European, Asian, and American furnishings, and art and antiquities that span two millennia. The numerous sculptures in the gardens and villa are of ancient Greek, Greco-Roman, and Italian Renaissance origins and styles.[5]
for example, one element is altar-like in white marble, featuring the carved heads of goats, cattle, and lions, and flanked by coral stone pillars with carving of the 'Oak Tree of Gernika', symbolizing the freedom of the Basque Vizcaya in Spain.
The gardens are notable for introducing classical Italian and French design aesthetics into a subtropical habitat's plant palette and context — a new approach. This resulted in ongoing garden experiments with many tropical plants new to American horticulture. While Vizcaya's landscape design style evokes other periods and places, the use of native stone, plants, and light modulation reflected Deering's desire to showcase the indigenous natural beauty. By 1922, the 180-acre (0.73 km2) estate included large lagoons and new islands down-coast south of the villa and its formal gardens.
On the estate's western acreage, across present day South Miami Avenue, were the produce gardens and grazing fields. A village compound was designed and built to the west, also. These endeavors were done with the intent of making Vizcaya primarily self-sufficient, modeled on European estates to compensate for the limited commodities and services of early 1920s Miami. The village buildings housed the property's staff quarters, auto garages, equipment sheds, workshops, and barns for the domesticated animals.
Deering spent winters there beginning in 1916, when the residence was sufficiently complete. Among James Deering's closest friends were painter Gari Melchers and his wife Corinne. Through his brother Charles, also a patron of the arts and collector, he had friendships with the painters John Singer Sargent and Anders Zorn. Sargent visited Vizcaya in March 1917 and produced a series of watercolors of the estate, as well as portrait of James. After the extensive gardens were completed in 1923, Deering's health began to weaken. Nonetheless, he traveled and entertained guests, including the silent film stars Lillian Gish and Marion Davies. Deering was described in his later years as "a reticent man with impeccably proper manners, leavened by a sense of humor." He was not unlike a 'Jay Gatsby' figure of the 'Roaring Twenties' era. In 1923, he opened the gardens to the public on Sundays, and Deering reportedly watched the visitors from his balcony, curious about who came, but not wanting to be recognized for his hospitality. In this period's personal letters, he expressed the hope that his nieces and nephews would enjoy coming to Vizcaya, so tennis courts, a bowling alley, a billiard room, and a swimming pool were part of the estate to encourage their visits.
Death and legacy
James Deering died in September 1925, on board the steamship SS City of Paris en route back to the United States. The philanthropic beneficiaries of his estate were Wesley Hospital, founded by his father in Chicago; the Visiting Nurse Association; the Children's Hospital of Chicago; and the Art Institute of Chicago, which received several significant paintings: the Édouard Manet "Mocking of Christ" and three by Italian master Giambattista Tiepolo of Rinaldo and Armida based on scenes from the 16th-century epic Gerusalemme Liberata by Torquato Tasso.
Following the death of Charles Deering, Villa Vizcaya passed to his two nieces, Marion Deering McCormick and Barbara Deering Danielson. Over the decades, after hurricanes and rising maintenance costs, they began selling the estate's surrounding land parcels. In 1952, at a below-market price, they sold the villa and formal gardens, and in 1955 the village 'core estate' to Miami-Dade County for a museum and gardens to be open to the public. With the initial sale, they donated the antiquities and furnishings to the County Museum.
Museum and gardens
Unlike many other historic house museums, Vizcaya contains the original antiques and furnishings, giving continuity to experience Deering's era. His brother Charles Deering's nearby estate, now named 'The Deering Estate at Cutler', is also open to the public and owned by Miami-Dade County, but without art and furnishings. James Deering's estate, now named Vizcaya Museum and Gardens, is an accredited museum and National Historic Landmark. The villa, gardens, and village are under ongoing restoration. The Vizcaya Museum and Gardens mission is "to preserve Vizcaya to engage our community and its visitors in learning through the arts, history, and the environment."
A Place to Bury Strangers graces us with their presence once again. I'm still surprised this avant garde experimental band comes to St. Louis. The crowd, though not large, understands and appreciates this unique band. You have to see them to understand their artistry and power.
The subtitle of this series is the "madness of photographing in stobe lights". I asked Oliver Ackermann before they played if they were going to have strobes likes the first time I saw them. I just wanted to be ready for them. He laughed and, "Maybe." Oh yes there were strobes and they were even more intense than last time. It was a smaller more independent venue this time and maybe that made it easier to put on the show they REALLY wanted to. Though 60% of my shots were black, I managed to get a few.
#amy buxton
#Fall
#St. Louis
#A Place to Bury Strangers
#band
#music
#noise manipulation
#Off Broadway
#wave modulation
#Death By Audio
#Dion Lunadon
#Oliver Ackermann
#experimental rock
#space rock
#strobe light
#strobe
#concert
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
This 8 channel PWM (Pulse Width Modulation) card using NE555 timers is based on a test circuit devised and published by Giorgos Lazaridis in 2009. It is part of enhancements to the exhibition "public control panel" to provide wired operation of signals and points (turnouts) on the 16mm scale exhibit using servos instead of solenoids. The aim is more reliable control with slower, more realistic movement - a sort of "fly by wire" for model railways...
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
A stylus gauge from Weathers Industries, used to measure stylus tracking force of a phonograph tone arm.
Weathers Industries was founded by Paul Weathers in 1950. He was an engineer who developed a turntable with an exceptionaly light tone arm using FM modulation and a stereo speaker system using a subwoofer. He manufactured his high end turntables and speaker systems first in Collingswood NJ, then in Barrington, then Cherry Hill Industrial Park. He later moved his operation to 1006 Route 73 in Mt. Laurel. Weathers was last located in Marlton Sqaure (today Staples Plaza) in Marlton, where it moved to from Mt. Laurel in the late 1970s. It is said Mr. Weathers kept this small shop open for his customers who purchased his equipment, but they also serviced other brands. Shortly before his death in the early 1990s the shop became Fidelity Stereo and TV Service Center.
The perfect counterpart to a good scope – a signal generator. This one provides for internal and external modulation in various modulation modes, RF carriers up to 30 MHz, and audio down to tiny fractions of a Hz. Here, I've set it up for 5 KHz sine wave modulation on a 1 MHz carrier.
After using it for a while, some observations:
Pros:
o very flexible; not all that intuitive, but learnable
o great display; once understood, very clear what's going on
Cons:
o it's very, very slow to start up when first turned on
o the deep case is a poor match for the scope
o it doesn't remember what output was left on last
o display of actual waveform is... approximate
o that mechanical power button... meh. Scope's is better.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Auguste Rodin, 1840 - 1917
L'Age d'Airain model 1875-1876, cast 1903-1904
This cast was purchased by the original owners in 1905 from the artist. I have questions about how involved Rodin was in the creation of the reductions. In the normal course of events the artist would produce a maquette for a sculpture. It would be enlarged or reduced by artisans working under his supervision. The subtlety of surface modulation is mostly lost in the reduced version. flic.kr/p/y3BKJt
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
British postcard in the Picturegoer Series, London, no. 1048. Photo: Metro Goldwyn Mayer.
German-American-British film actress Luise Rainer (1910-2014) was the first to win multiple Academy Awards and the first to win back-to-back for The Great Ziegfeld (1936) and The Good Earth (1937). At the time of her death, thirteen days shy of her 105th birthday, she was the longest-lived Oscar recipient, a superlative that had not been exceeded as of 2020.
Luise Rainer was born in 1910 in Düsseldorf, in then the German Empire (now Germany). Her parents were Heinrich and Emilie (née Königsberger) Rainer. Her father was a businessman who settled in Europe after spending most of his childhood in Texas. Rainer's rebellious nature made her appear to be a "tomboy" and happy to be alone. She started her acting career in Berlin at age 16, under the pretext of visiting her mother, she traveled to Düsseldorf for a prearranged audition at the Dumont Theater. In the 1920s the theatre director Louise Dumont separated from her husband. Dumont was attached to a number of young actresses including Fita Benkhoff, Hanni Hoessrich, and Rainer. It has been presumed that Dumont was bisexual. Rainer later began studying acting with the leading stage director at the time, Max Reinhardt. By the time she was 18, several critics felt that she had an unusual talent for a young actress. She became a distinguished Berlin stage actress with Reinhardt's theatre ensemble. She also appeared in several German-language films. After years of acting on stage and in films in Austria and Germany, she was discovered by MGM talent scout Phil Berg, who signed her to a three-year contract in Hollywood in 1935. He thought she would appeal to the same audience as Swedish MGM star Greta Garbo. Mayer assigned actress Constance Collier to train her in speech and dramatic modulation, and Rainer's English improved rapidly.
Luise Rainer's first American film role was in the romantic comedy Escapade (Robert Z. Leonard, 1935) with William Powell. It is a remake of the popular Austrian Operetta film Maskerade/Masquerade (Willy Forst, 1934). The film generated immense publicity for Rainer, who was hailed as "Hollywood's next sensation." The following year she was given a supporting part as the real-life character Anna Held in the musical biography The Great Ziegfeld (Robert Z. Leonard, 1936), featuring William Powell. Despite her limited role, her emotion-filled performance so impressed audiences that she was awarded the Oscar for Best Actress. She was later dubbed the "Viennese Teardrop" for her dramatic telephone scene, attempting to congratulate Ziegfeld on his new marriage, in the film. On the evening of the Academy Award ceremonies, Rainer remained at home, not expecting to win. When Mayer learned she had won, he sent MGM publicity head Howard Strickling racing to her home to get her. She was also awarded the New York Film Critics' Award for the performance. For her next role, producer Irving Thalberg was convinced, despite the studio's disagreement, that she would also be able to play the part of a poor, plain Chinese farm wife opposite Paul Muni in The Good Earth (Sidney Franklin, 1937), based on Nobel Prize-winning author Pearl Buck's novel about hardship in China. The humble, subservient, and mostly silent character role was such a dramatic contrast to her previous vivacious character that she again won the Oscar for Best Actress. Rainer and Jodie Foster are the only actresses ever to win two Oscars by the age of thirty.
However, Luise Rainer later stated nothing worse could have happened to her than winning two consecutive Oscars, as audience expectations from then on would be too high to fulfill. A few months before the film was completed, Irving Thalberg died suddenly at the age of 37. Rainer commented years later: "His death was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films." After four more, insignificant roles, MGM and Rainer became disappointed, and she was dubbed "Box Office Poison" by the Independent Theatre Owners of America. Adding to her rapid decline, some feel, was the poor career advice she received from her then-husband, playwright Clifford Odets. She ended her brief three-year Hollywood career and returned to Europe where she helped get aid to children who were victims of the Spanish Civil War. Nevertheless, she was not released from her MGM contract and, by 1940, she was still bound to make one more film for the studio. Some film historians consider her the "most extreme case of an Oscar victim in Hollywood mythology". Rainer studied medicine and returned to the stage. In 1939, she made her first appearance at the Palace Theatre, Manchester in Jacques Deval's play 'Behold the Bride', and later played the same part in her London debut at the Shaftesbury Theatre. Returning to America, she played the leading part in George Bernard Shaw's 'Saint Joan' in 1940 at the Belasco Theatre in Washington, D.C. under the direction of German emigrant director Erwin Piscator. In 1943, she made an appearance in the film Hostages (Frank Tuttle, 1943). Rainer abandoned film making in 1944 after marrying publisher Robert Knittel. She made sporadic television and stage appearances, appearing in an episode of the World War II television series Combat! in 1965. She took a dual role in a 1984 episode of The Love Boat. She appeared in the film The Gambler (Károly Makk, 1997), starring Michael Gambon. It marked her film comeback at the age of 86. Luise Rainer passed away in 2014, in Belgravia, London, England. She was 104. Rainer married Clifford Odets in 1937 and they divorced in 1940. Her second husband was publisher Robert Knittel. They were married from 1945 till his death in 1989 and lived in the UK and Switzerland for most of their marriage. The couple had one daughter, Francesca Knittel.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by A.N., Paris, no. 1182. Photo: Metro Goldwyn Mayer.
German-American-British film actress Luise Rainer (1910-2014) was the first to win multiple Academy Awards and the first to win back-to-back for The Great Ziegfeld (1936) and The Good Earth (1937). At the time of her death, thirteen days shy of her 105th birthday, she was the longest-lived Oscar recipient, a superlative that had not been exceeded as of 2020.
Luise Rainer was born in 1910 in Düsseldorf, in then the German Empire (now Germany). Her parents were Heinrich and Emilie (née Königsberger) Rainer. Her father was a businessman who settled in Europe after spending most of his childhood in Texas. Rainer's rebellious nature made her appear to be a "tomboy" and happy to be alone. She started her acting career in Berlin at age 16, under the pretext of visiting her mother, she traveled to Düsseldorf for a prearranged audition at the Dumont Theater. In the 1920s the theatre director Louise Dumont separated from her husband. Dumont was attached to a number of young actresses including Fita Benkhoff, Hanni Hoessrich, and Rainer. It has been presumed that Dumont was bisexual. Rainer later began studying acting with the leading stage director at the time, Max Reinhardt. By the time she was 18, several critics felt that she had an unusual talent for a young actress. She became a distinguished Berlin stage actress with Reinhardt's theatre ensemble. She also appeared in several German-language films. After years of acting on stage and in films in Austria and Germany, she was discovered by MGM talent scout Phil Berg, who signed her to a three-year contract in Hollywood in 1935. He thought she would appeal to the same audience as Swedish MGM star Greta Garbo. Mayer assigned actress Constance Collier to train her in speech and dramatic modulation, and Rainer's English improved rapidly.
Luise Rainer's first American film role was in the romantic comedy Escapade (Robert Z. Leonard, 1935) with William Powell. It is a remake of the popular Austrian Operetta film Maskerade/Masquerade (Willy Forst, 1934). The film generated immense publicity for Rainer, who was hailed as "Hollywood's next sensation." The following year she was given a supporting part as the real-life character Anna Held in the musical biography The Great Ziegfeld (Robert Z. Leonard, 1936), featuring William Powell. Despite her limited role, her emotion-filled performance so impressed audiences that she was awarded the Oscar for Best Actress. She was later dubbed the "Viennese Teardrop" for her dramatic telephone scene, attempting to congratulate Ziegfeld on his new marriage, in the film. On the evening of the Academy Award ceremonies, Rainer remained at home, not expecting to win. When Mayer learned she had won, he sent MGM publicity head Howard Strickling racing to her home to get her. She was also awarded the New York Film Critics' Award for the performance. For her next role, producer Irving Thalberg was convinced, despite the studio's disagreement, that she would also be able to play the part of a poor, plain Chinese farm wife opposite Paul Muni in The Good Earth (Sidney Franklin, 1937), based on Nobel Prize-winning author Pearl Buck's novel about hardship in China. The humble, subservient, and mostly silent character role was such a dramatic contrast to her previous vivacious character that she again won the Oscar for Best Actress. Rainer and Jodie Foster are the only actresses ever to win two Oscars by the age of thirty.
However, Luise Rainer later stated nothing worse could have happened to her than winning two consecutive Oscars, as audience expectations from then on would be too high to fulfill. A few months before the film was completed, Irving Thalberg died suddenly at the age of 37. Rainer commented years later: "His death was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films." After four more, insignificant roles, MGM and Rainer became disappointed, and she was dubbed "Box Office Poison" by the Independent Theatre Owners of America. Adding to her rapid decline, some feel, was the poor career advice she received from her then-husband, playwright Clifford Odets. She ended her brief three-year Hollywood career and returned to Europe where she helped get aid to children who were victims of the Spanish Civil War. Nevertheless, she was not released from her MGM contract and, by 1940, she was still bound to make one more film for the studio. Some film historians consider her the "most extreme case of an Oscar victim in Hollywood mythology". Rainer studied medicine and returned to the stage. In 1939, she made her first appearance at the Palace Theatre, Manchester in Jacques Deval's play 'Behold the Bride', and later played the same part in her London debut at the Shaftesbury Theatre. Returning to America, she played the leading part in George Bernard Shaw's 'Saint Joan' in 1940 at the Belasco Theatre in Washington, D.C. under the direction of German emigrant director Erwin Piscator. In 1943, she made an appearance in the film Hostages (Frank Tuttle, 1943). Rainer abandoned film making in 1944 after marrying publisher Robert Knittel. She made sporadic television and stage appearances, appearing in an episode of the World War II television series Combat! in 1965. She took a dual role in a 1984 episode of The Love Boat. She appeared in the film The Gambler (Károly Makk, 1997), starring Michael Gambon. It marked her film comeback at the age of 86. Luise Rainer passed away in 2014, in Belgravia, London, England. She was 104. Rainer married Clifford Odets in 1937 and they divorced in 1940. Her second husband was publisher Robert Knittel. They were married from 1945 till his death in 1989 and lived in the UK and Switzerland for most of their marriage. The couple had one daughter, Francesca Knittel.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
from Wikipedia:
The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and scripts adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross.
Saracen arches and Byzantine mosaics complement each other within the Palatine Chapel
The Palatine Chapel (Italian: Cappella Palatina[1]) is the royal chapel of the Norman kings of Sicily situated on the ground floor at the center of the Palazzo Reale in Palermo, southern Italy.
The chapel was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build and many more to decorate with mosaics and fine art. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, illustrate scenes from the Acts of the Apostles. Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons.
Other remarkable features of the chapel include the Carolingian throne, a low stage for royal receptions, and a balcony which allowed the king to view religious processions from above. In addition, the muqarnas ceiling is spectacular. The hundreds of facets were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Iraqi 'Abbasid art, these paintings are innovative in their more spatially aware representation of personages and of animals
Pierre-Auguste Renoir, Limoges 1841 – Cagnes-sur Mér 1919
Der Spaziergang - The Promenade (1870)
J. Paul Getty Museum, Los Angeles
In The Promenade, both figures are crucial to the scene, but they are treated very differently. Brightly lit and wearing a white dress, the woman is the dominant focus of the picture. Sporting a dark jacket and pressing back against the foliage, the man is a far more shadowy figure, only partially lit by scattered flashes of sunlight on his trousers, hands, collar, and hat. The trail into the depths of the wood may be well lit, but there is the hint, in the young man’s heavily shaded, almost caricatural features, that his intentions might be less than pure.
There is nothing in the painting that allows us to pinpoint the exact location of Renoir’s scene, but it’s clear from the dense, overgrown foliage and rough, uneven terrain that this is not the cultivated space of a park or garden.
The most telling clue is the figures’ relatively informal urban dress, which suggests that they are Parisian pleasure seekers on an excursion outside the city. The distinctive ribboned hat worn by the man identifies him as a canotier, or boater – a common sight along the Seine River valley to the west of Paris. Have these two just left their boat by the riverbank in a search for greater privacy?
The Promenade is considered a genre painting, meaning it depicts a familiar scene of everyday life whose characters are recognizable social types. The canotier can be imagined in his weekday life as a petit bourgeois, belonging to the lower-middle class and his companion as one of the legendary grisettes, the good-hearted girls common in the mythology of Parisian bohemian life who were interested in handsome young men for their charm, not their money. Together, these day-tripping Parisians evoke an easygoing, semi-bohemian world in which the pursuit of fleeting pleasures is paramount and social strictures are relaxed in the context of unbound nature.
The informality of the picture’s youthful, romantic subject is complemented by that of its lively, energetic technique. The Promenade rejects traditional notions of drawing and the imperative to clearly delineate and carefully model forms. Instead, Renoir works in a vibrant, painterly mode, animating the whole picture surface with fluid, broken brushstrokes and flecks and dashes of contrasting tone and color. Through brushwork and the modulation of light and color, he creates a dynamic interplay between the figures and their natural surroundings, responding in his way to one of the defining challenges of the Impressionist generation: how to depict large-scale figures outdoors in sunlight.
Despite the apparent informality and speed of Renoir’s loose, flickering technique, The Promenade is a work of great artifice, its composition is carefully framed and orchestrated. While dark foliage in the upper left corner sets off the woman in white, sun-dappled greens in the upper right corner set off the man’s dark figure.
In the bottom corners, the scene is framed by a delicate spray of leafy twigs and a massive tree trunk - contrasting natural elements that wittily echo the gendered opposition of Renoir's female and male figures.
And just as the man leads the woman up the path, so a sequence of pink and red touches lead the viewer’s eye across the composition from the woman's face and hat through the joined hands to the man's face and the remarkable red ribbon on his hat . and finally to his left hand, pointing to where he wishes her to go.
"I like a painting which makes me want to stroll in it.” Renoir
Source: "Taking a Stroll in Renoir's The Promenade" published online in 2021 via Google Arts & Culture, the J. Paul Getty Museum, Los Angeles.
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Il Campione: This Italian sensation reminds us that driving can indeed be joyous
It’s become de rigueur to declare driving dead. If we are headed for autonomous transport, ask the pundits, why bother having fun behind the wheel? Just clamber into your soulless people hauler, select “Stultifying Ambient Tedium” on your Pandora playlist, and tune out.
At Motor Trend, dear reader, we are not ready to give up the fight even if the morning commute is more slog than slalom, more torture than torque. We contend that a schlep through shoreline traffic should not extinguish individuality.
Driving great distances because you can is a deep-rooted American tradition. It is the declaration of independence of the industrial revolution. It is our automotive destiny. We embrace the decreasing-radius corner, the back road’s unexpected undulation, the hairpin with a dusting of gravel at the apex.
At a time when the formulaic commoditization of cars is not only expected but also a standard feature, we rebel. We are not ready to relegate our cars to the status quo of an A-to-B anachronism of conveyance. We believe in the necessity of passion and finding your heart’s desire. There is still time—time to instill joy, lust, rivalry, and good cheer.
For those who won’t settle for ubiquity, we present the 2018 Motor Trend Car of the Year: the Alfa Romeo Giulia.
No less a luminary than Henry Ford, the inventor of the mass-production automobile, once said: “When I see an Alfa Romeo go by, I tip my hat.”
Mr. Ford knew there was something special about the car that carries the cross-and-serpent badge, the company where Enzo Ferrari proudly got his start in racing before hanging his own shingle.
Our international bureau chief, Angus MacKenzie, an axle-greased eminence of the auto industry, knows his Alfa history. In his London garage sits a 1967 GTV coupe—a rolling symbol of Alfa Romeo’s glory years. “Back in the early ’60s, Alfa occupied a niche that BMW later came to own—building fast, charismatic sedans, wagons, and coupes that looked good, weren’t stupidly expensive, and, most of all, were utterly delightful to drive,” he says. “This new Giulia recaptures the spirit of those 1960s Alfas but in a thoroughly modern manner.”
Anyone reading Motor Trend this past year shouldn’t be surprised. Each successive time we drove the Giulia, through summer’s ripening breath, our enthusiasm grew.
Alfa Romeo’s erratic legacy in this country might mean many Americans have limited knowledge of this brand and heritage. Consider the Giulia your introduction.
“There is sorcery in this car,” road test editor Chris Walton says. “The Giulia fills the space vacated by BMW. Yet even at the apex of its reign, a 3 Series never rode this well or cornered with such poise and precision simultaneously.”
When seeing the strength of the 2018 COTY field, some readers might feel our choice of the Alfa Romeo seems out of left field. The Honda Accord, Kia Stinger, and Tesla Model 3 all make strong plays for top honors (and received individual first-place votes among our judging panel).
But Alfa Romeo is dashing away with the prize—the first time an Italian brand has won COTY or our discontinued Import Car of the Year—and anyone who has been reading Motor Trend this past year shouldn’t be surprised.
Earlier this year, the base Giulia beat all comers in our Big Test of 2.0-liter compact luxury sedans—a field that included Audi, BMW, Jaguar, Lexus, and Mercedes-Benz, among others.
The Quadrifoglio version then eviscerated its rival BMW M3, Cadillac ATS-V, and Mercedes C63 S super sedan entrants in a four-way comparison on streets and at the racetrack.
And in Best Driver’s Car against 11 supercars, sports cars, and six-figure grand tourers, the Quadrifoglio (the lone sedan) finished in a respectable sixth.
Each successive time we drove the Giulia, through summer’s ripening breath, our enthusiasm grew.
“Best steering, best chassis—this car saves the sport sedan market,” says guest judge Chris Theodore—the former Ford and Chrysler product development executive who knows something about creating cars to make a soul ache.
“It was the only car that said, ‘You’re in charge. You want to be nice and tidy, I can be tidy. You want to be crazy and drift me wild, I’ll be right there with you,’” Theodore adds. “You fall in love with it.”
The top-trim Quadrifoglio, with its 505 fiery-footed steeds underhood, is blisteringly quick, especially in Race mode. Its 2.9-liter V-6 is a Ferrari engine with two cylinders cleaved off, for crying out loud. While punching out a 3.8-second 0–60 time and a 12.1-second quarter mile, this pazzo Alfa also carries asphalt-peeling lateral grip. Yet the car’s attitude can be adjusted on the throttle at will. In short, it goads expletive-shouting misbehavior while delivering a commute-friendly ride.
What clinched the Calipers was the base Giulia. Many brands make blazingly fast performance sedans, but when the exercise is reduced by mass-market pressures, the lesser version is often found lacking. Not so here. The $38,990 base Giulia achieves something Acura, Lexus, Infiniti, and Jaguar have tried futilely to do for decades: build a better compact sport sedan than the Deutschlanders.
The Giulia’s eager 2.0-liter turbo-four is no wisp of an engine. It cranks out a stunning yet tractable 280 hp and 306 lb-ft of torque. In testing, we admit to finding a hint of lag and lash, but when the powerband kicks in to second gear and the exhaust note awakens, your senses will revel in jubilation.
“This is a car that snorts and burps and gurgles,” Detroit editor Alisa Priddle says. “There is something visceral about hearing the car. There’s sheer fun in driving a car like that.”
Call it Italian finesse; Alfa understands the nuance that some drivers might desire, a racy engine response without turning the suspension into a kidney-beating nightmare—hence the option of a softer suspension setting while in Dynamic mode. Markus observed that some twisty roads benefit a car with a softer shock setting. Adds Ed Loh: “The Germans always say, ‘We make everything hard.’ No! Softness. Softness.”
Putting the power to the pavement is a proven ZF eight-speed with 100-millisecond shift times and the ability to skip-shift from eighth gear directly to second if instant hp is needed. If you are stuck in the typical morning snarl, a switch to “A” mode changes the shift logic to smooth and calm. So what if we Americans don’t get a manual version? One toggle of the cold, all-aluminum paddle shifters will make you cease yearning to row your own gears. The Brembo brakes, normally a sure thing, and brake-by-wire system earned some frowns for being mushy under pressure, though.
“It handles absolutely beautifully, with light, linear sports car–like steering,” features editor Christian Seabaugh says. “It rides like a luxury car with no impact harshness in the cabin, and it’s downright quick. This is a car that puts a smile on your face. It doesn’t matter whether you’re sitting at a stop light, bombing down a back road, or cruising on the highway. It just wants to please.”
Many luxury sedans have imitated the stark Germanic style. But Alfa retained its legacy of what an Italian car’s exterior and interior should look like. It is unmistakable and sensual, imbuing a cosmopolitan glamour to the driver.
“The design, packaging, and various visual elements seem to come together to complement each other,” former Chrysler design boss Tom Gale says, pointing to the shield grille, shrouded instrument cluster, and ’60s-inspired wood inlays as iconic Alfa styling points.
Alfa Romeo could have taken the cheap way out, relying on tacked-on pieces of faux heritage. But no, the whole car is heritage—swoopy, sexy, and more than a little brazen. The smooth detents of the buttons, the rheostatic clicks of the dials, and the swing of the stalks all carry a tactile elegance. The italic typeface on the instrument gauges connotes velocity. The back seats, though a tad tight on legroom, are draped in the same sumptuous leather as those up front.
This snazzy aesthetic travels into places most people won’t see (but Theodore did), such as the attention to detail in the chassis design—with stout spring perches, strut-tower braces, and shrouding of the cooling system.
Now let’s talk value. This segment is cutthroat, and Alfa has not flinched at what is expected. After following the industry-standard 36-month, $399/month lease deal, it launched a 24-month, $299/month lease deal that should get the attention of any individual with Maserati tastes but a Mazda budget.
Carrying such a gutsy engine could tank fuel economy. But the Alfa is a miser. The rear-drive version of the 2.0-liter Giulia delivers 21.7/37.9/26.8 mpg city/highway/combined in our Real MPG tests, while the Quadrifoglio managed 15.8/28.5/19.8 mpg—in both cases, underperforming the EPA ratings slightly in city and combined and significantly exceeding them on the highway.
As for safety, the Giulia was rated a Top Safety Pick+ by IIHS, its highest rating, and earned top marks for its automatic emergency braking and headlamp systems. The Giulia carries a five-star rating in the European NCAP evaluation. It offers smart cruise control (down to a full stop), forward collision warning, pedestrian detection, blind-spot monitoring, rear cross-traffic alert, and numerous other systems. And although other cars blare Klaxons to warn of a lane departure, the Giulia thumps a bass line more akin to a Deadmau5 beat.
As to the elephant in the room: Some readers with long memories will recall Alfas of yore as temperamental and unreliable—the main reason for its departure from this market in 1993. And upon Alfa Romeo’s return to the U.S., some early-build 2017 Giulias had issues with electrical gremlins. But in this year’s accelerated wear-and-tear Car of the Year testing of three Giulias, we found nary a glitch, hiccup, or bark of protest—while several cars from other luxury automakers had notable issues.
Is the Giulia perfect? No, but neither are any of its rivals. Tetchy brake modulation makes a gliding limousine stop a challenge. The fantastically supportive optional sport seats have imposing side bolsters that require the figure of a Milan runway model. The rear-seat footwells needed some sharp bits burred. The all-season tires on the all-wheel-drive Q4 version were a bit greasy. The infotainment screen could use a more complete user experience (Apple CarPlay is an anticipated rolling change) and a higher-resolution rearview camera. And for all the elegance of the interior, the plastic gearshift conjures a PlayStation joystick.
But those are minor points. Our peckish panel of judges had similar quibbles with every car in this year’s field. The Giulia was the only vehicle whose essence enraptured the jury with its charm and unbridled zeal for driving. Nearly every judge uttered the word “love” when describing this car. “I would be so happy if every day I got to be in this car,” senior features editor Jonny Lieberman says.
William Shakespeare’s Romeo told us that his shimmering Juliet “doth teach the torches to burn bright.” And so we compare thee, beautiful, passionate Alfa Romeo Giulia—your styling, road manners, and sheer sensuality of driving.
After we had tested all the finalists, we deliberated their attributes. MacKenzie noted, even to those who might not vote for Giulia in first place: “Look at all the smiles. This car makes you smile.”
A Car of the Year should evoke such strong emotion. For those who feel that the journey is as important as the destination, your chariot awaits.
Modulation level with a MAGIC EYE 6E5 Tube and "RECORD LEVEL escutcheon. This tube was used in many Radios and test equipment.
Webcor Tape Recorder reel-to-reel all-tube set in a case. This is the once ubiquitous 6E5 "magic eye". When I use my tube-tester, I make it wink with the turn of a bias knob. The tape recorder had a badly designed multi-point slide switch inside that was beyond repair.
Unit scrapped and tubes tested all ok. Unit salvaged for parts.
Citroen C2 VTS (2003=09) Engine 1587cc TU5 S4 16v
Driver Juozas (Joe) Meskauskas
Series Champion BTRD Rallycross - Production Class
CITROEN SET
www.flickr.com/photos/45676495@N05/sets/72157623776731490...
Designed by Donato Coco as a replacment for the Citroen Saxo in the supermini category. Whereas its stablemate the C3 was aimed as a larger "family friendly vehicle", with its five doors the C2 was aimed at younger drivers with two doors and flatter styling. April 2007 saw Citroën Europe announcing a facelift for its C2 model, which had received a minor update in November 2006. The 2009 C2 featured a larger front bumper and restyled grille with a chrome surround.
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Available with 1.1, 1.4 and 1.6 litre petrol engines along with a 1.4 litre Diesel, the entry trim level the LX was strictly a no frills version, the L available 2003-05 came with black lower bumper and door handles, CD player, rear seat modulation and no fog lamps. The Design included body coloured bumpers and electric windows. The SX was the luxury spec.
There were three sports models the Furio, VTR and the VTS. The Furio has the same sports body kit as the more expensive VTR and VTS models but lacks their alloy wheels. except the pre-2003 cars which came with 15" Coyote alloys, The VTR also has a 110 bhp (82 kW; 112 PS) engine, whereas the VTS, the premium sports model, has a 125 bhp (93 kW; 127 PS) engine capable of accelerating from 0 to 60 mph (97 km/h) in 8.0 seconds, it was intended that these cars attracted lower insurance premiums than some of their hot hatch rivals and the VTS came with security based additions including deadlocks and a Thatcham Category 1 alarm system which includes perimeter and volumetric detection as well as an engine immobiliser.
Many thanks for a Marmalising
52,510.429 views
Shot 15.06.2016 at the Coventry Festival of Motoring, Coventry REF 118-033
New!!! Adventure Audio (@adventure_audio) Dream Reaper - Fuzzy Feedback Modulation Machine * * * bit.ly/2km14y6 * * * #adventureaudio #adventure #dreamreaper #fuzz #fuzzpedal #feedbackloop #feedback #feedbacklooppedal #feedbackpedal #effectsdatabase #fxdb, via Instagram: bit.ly/2kWkrRk
bricolaged notes from STUDIO UNBOUND : Lane Relyea
Institutional Critique : Studio/Post Studio Activity
The Function of the Studio
Daniel Buren
The Studio is no longer as seen as belonging to a system.
No longer a retreat but it now INTEGRATES
It is all exterior.
The Network places the artist as a 'like item' within an integrative inventory or database.
Networks are both integrative and decentralizing in that they privilege casual or weak ties over formal commitments.
Being part of a network that privileges itinerancy and circulation over fixity, that diminishes hierarchies and boundaries in favour of mobility and flexibility across a more open extensive environment.
'The Studio made into a showroom display'
Antagonism and Relational Aesthetics. 2004
Claire Bishop
The Individual and The Social
A place where meanings, properties and behaviors fluctuate radically.
Bennett Simpson. Can you work as fast as you like to think. 2003
The hosting/re-created artist's workspaces, like a threshold between private and public actuality and potentiality.
Spaces of Fluid Interchange Between Objects, Activities, People.
Today studio and museum are superseded by more temporal, transient events.
The Notion of the Evolutionary Exhibition.
Placing greater emphasis on INFORMATION, DISCUSSION and GATHERINGS
Establishing NETWORKS, fluctuating between highly specialized work by scientists, artists, dancers and writers
Obrist/Vanderlinden, Laboratorium, Antwerp. 1999
MODULATION, Deleuze
Immaterial Social Acquaintances/Information
Along with the rise of Networks comes a new Ideology, one that Advertises Agency, Practice and Everyday Life.
The Dividual (The New Mobile Creator) Deleuze
Someone who is 'UNDULATORY In ORBIT, in a CONTINUOUS NETWORK
Colour Nexus : Promiscuous Mobility
Material Flows 2007/2017 Towards Disentanglement
Social behaviour is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.
Franco "bifo" Berardi
OBSCURED MATERIAL
The Modulation of the Image
It's @bonstewart's week for #change11!!!!!
These are just some very rough notes.
I insist you go read all about it here:
theory.cribchronicles.com/2012/05/06/digital-identities-s...
The live session was Wednesday May 9 at 11am. It was excellent.
You can even watch the recording. Although a lot of the fun was in the participation so I suggest you keep a pen handy and make some notes.
{Oh, and please note that BlackBoard Corroborate (and most synchronous tools) can mess with audio. So although I didn't hear it from my end LIVE on the day, the recording has added deceptive pseudo sibilant sounds to Bon's speech. Really, she does NOT have a lisp!
I do know that when bandwidth varies and this can cause a variety of voice modulations, usually it's "the chipmunk", which I find particularly entertaining.}
I really appreciate when facilitators approach "their" week early starting from prior weeks and end with a closing reflection post. Accordingly, I suggest you go read her great summary: theory.cribchronicles.com/2012/05/12/fleshing-out-the-dig...
Ernest Hubert Lewis Schwarz was born in Lewisham on February 27 1873 the youngest of 12 children. His, father Frederick Maximilian Phillip Hubert Schwarz, was 60 at the time of his birth, his mother Johanna, 34. The couple were both from Germany, Frederick from Dusseldorf, Johanna from Schleswig-Holstein, but they married in London, at St Giles, in 1853 when he was an established South America merchant of 40 and she just a girl of 15. No doubt worn out by childbirth, she had her 12 children in just 18 years, Johanna died in April 1874 when Ernest would have barely been weaned. The motherless family were living on College Road in Dulwich at the time of the 1881 census and had moved to 80 Philbeach Gardens in what then known as Brompton but is now Earls Court by 1891. Ernest studied at the Royal College of Science in London and the School of Mines in Cambourne, Cornwall but despite being an excellent student he failed to gain a degree. In 1895, at the age of 22, Ernest moved to South Africa where he first worked as an editor on a short lived journal The Scientific African (it folded after just 5 issues) before being appointed as a field geologist to the Geological Commission of the Cape of Good Hope, a post he kept for most of the following decade. In 1899 his father died at the age of 86 leaving an estate of £18712 8s 6d to be shared amongst his brood. On 30 April 1904 in St George Anglican Cathedral, Cape Town Ernest married Daisy Murray Bowne Halloran and the following year he became the first professor of geology at Rhodes University College, Grahamstown, and simultaneously as keeper of geology and mineralogy at the Albany Museum.
Ernest liked to engage in speculation untrammelled by the harsh restriction of facts. In his last published book ‘The Kalahari and its Native Races’, published in 1929 shortly after his death, he suggests that Hottentot modulations of speech are derived from Chinese and eventually even convinces himself that the race itself is Asiatic in origin. And he felt that the Makalaka people were descendants of Malays who had sailed across the Indian Ocean. As his gravestone shows he was (and remains) most well known for his proposed Kalahari irrigation scheme first proposed in a newspaper in 1918, then in a scientific paper ‘The dessication of Africa: The cause and the remedy’ and finally in a full length book ‘The Kalahari or Thirstland Redemption’ published in 1920. Schwarz said that large permanent lakes that had existed at Etosha Pan, the Makgadikgadi Pans and Lake Ngami and which had dried up during the last few centuries. The loss of these lakes, he claimed, decreased rainfall over the Kalahari basin from about 1860 onwards. He was sure that restoring the lakes by damning the Kunene River and Chobe Rivers would increase rainfall by up to 250 mm a year and turn the desert into a green savannah. The proposal aroused such popular support that the South African government launched a scientific expedition in 1925 to survey the Kalahari and to report on the possibility of practically implementing the scheme. The official report alleged that Schwarz had many of his key facts wrong and that there was little or no chance of the scheme working. Schwarz continued to argue that he was right and after his death his widow continued to publish articles on the now discredited scheme. In 1927 he visited Senegal on six month's leave to study the upper drainage system of the Niger River. He was not able to complete his survey and so returned the following year, dying in the old colonial town of St Louis of a heart attack before he begin his work again. On his table was a letter to the editor of the Geographical Journal which outlined a solution to the problem of the route followed by Hanno the Carthaginian along the Senegal coast in his famous 5th century BC African expedition. Schwarz’s body was returned to England for burial and Willesden chosen by his widow to be his final resting place. Probate lists is estate as being worth £1162 12s 8d, the sole beneficiary being his Daisy Murray Bowne Schwarz, widow, of 4 Burgess Park Mansions, West Hampstead.
Willesden Cemetery
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
To answer the lovely, Wave of Modulation, yes.
My literary alter ego is a woman named Sassafrass Whiskeytits. It was a name bestowed upon me by the ancient surfer god, Saint Smiggly Ritz and passed on to me by Senor Eddie Paradise. Not the one from Tuscaloosa, the one with the good hair.
Sassafrass curses out bus drivers and gets hit on by delivery truck drivers as she navigates the concrete jungle on her trusty Sector 9 board she has lovingly dubbed "Boyfriend." At least, she surmises, he takes me places.
Stay tuned for many adventures. . .
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
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/