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Through a unique synthesis of punk and folk, soul and hardcore, traditional Irish music and off-the-cuff improvisation, Ted Leo writes seamless pop songs that are pleasing to the sugar-craving ear and the intellectually curious mind. Ted recently visited Room 205 to perform inside of an ever-evolving set conceived by director Jason Farrell and set designer Tamarra Younis.
BIO
Ted Leo has carved a legacy for himself that is both heady in its political sensibility and advanced in its musicality. Both as a solo artist and with his backing band The Pharmacists, Leo's influences come from the mod revivalism of the Jam, the dubby rhythms of the Clash and the soulful meditations of Curtis Mayfield. By consistently combining his love for 60s pop and soul with an abiding mastery of 70s punk rock, Ted Leo has laid the foundation for punk and hardcore bands of the future.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4loaXdaqqCQJYNlTh3PlzC3
• Vimeo: vimeo.com/album/2233496
Photos
• Flickr: flic.kr/s/aHsjv1jQy5
Music
• SoundCloud: soundcloud.com/goincase/sets/ted-leo-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Jason Farrell: jasonfarrelldesign.com
Set Designer
• Tamarra Younis: union-of-art.net
Set Design Assistant
• Rene Navarette: union-of-art.net
Audio Engineer
• Jon Gilbert: facebook.com/jonathan.gilbert.7796
Camera
• Jason Farrell: jasonfarrelldesign.com
• Erik Denno: dennoproductions.com
• James Wall: jameswalldp.com
Editor
• Jason Farrell: jasonfarrelldesign.com
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• Ted Leo: tedleo.com
Label
• Matador Records: matadorrecords.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
インターネットで収集したモチーフを虚像として彫刻化する PixCell シリーズのひとつ、[PRISM(プリズム)}。
”PRISM" series is one of NAWA's PixCell series, turning motifs collected from the Internet into sculptures as virtual images.
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
Stephen Jones & Pia van Gelder: A talk on Video Synthesises to accompany the Catching Lightpanel at ISEA13
This paper looks at the video synthesiser as a primary visual/audio source of abstract images in International and Australian video art. Video synthesisers are mostly analogue or hybrid devices having an analogue video signal as their output; they are not computer imaging systems, although several were controlled and patched by using a microprocessor. They can be played live, and are more like musical instruments than computers in their usage.
The presentation begins by examining the variety of devices that were built and the techniques used in most video synthesisers, and looks briefly at some of the earliest video synthesisers from the U.S. and Britain. Video synthesisers began as colourisers; e.g. Eric Siegal’s device of 1968 – or manipulators of the colours of an existing image; e.g. the Paik/Abe video synthesiser of 1970. As audio synthesisers became more readily available they, or oscillator packages derived from them, began to be used as pattern generators; e.g. the EMS Spectre, of 1975, which also used digital shape storage devices in read only memory. Pattern storage using digital memory was also a feature of the Beck Video Weaver, of 1973, which used writable memory to store shapes and read them out to the screen.
The presentation then follows up with more detail on a variety of video synthesisers built and used in Australia. These include John Hansen’s hybrid analogue and digital microprocessor-controlled video synthesiser that eventually became a fully-fledged 2D Computer drawing package, Peter Vogel’s specially designed collection of oscillators that he used to produce an enhanced Musicolour device, the EMS Spectre used at La Trobe University by Warren Burt, David Chesworth and other students of Burt, and finally the series of video synthesisers built in Sydney by Stephen Jones over the period from 1978 to 1982. The presentation will include short video excerpts from many of these machines.
www.isea2013.org/events/the-history-of-things-to-come-panel/
浜松市動物園（はままつしどうぶつえん）は、静岡県浜松市西区にある市営動物園。浜松市フラワーパークの北隣で、両者を合わせて舘山寺総合公園（かんざんじそうごうこうえん）を形成する。
隣接する浜松市フラワーパークとは園内通路同士で繋がっており、「共通券」を購入することで両園を自由に巡ることができる。 霊長類の展示は、国内の動物園としては最大級で、ニシローランドゴリラやスマトラオランウータン・ゴールデンライオンタマリンなどがいる。その他にも、ミニ・サファリ形式の大放牧場や動物ふれあい広場・こんちゅう館など、教育施設としても立派な動物園である。猛獣は、ライオンやトラを始め、クロヒョウ、ユキヒョウ、ジャガー、ヨーロッパオオカミがおり,地方都市の動物園としては充実しているとされる。Hamamatsu city zoo that does not obtain it in Shizuoka prefectural Hamamatsu city Nishi-Ku. Hamamatsu city flower park is a northern next door house and put both together Kanzanji synthesis park.
I am to be connecting with adjacent Hamamatsu city flower park among passage on the premises and buy "common ticket" and can go around both gardens freely. If it does an exhibition of Primates with a domestic zoo, there is a west Rowland gorilla やSumatera orangutan, a golden lion tamarine etc with a largest class. A big pasturage place in the form of a miniskirt, safari and an animal contact square, an insect pavilion etc and an educational institutions are praiseworthy zoos besides. An intense beast is a black leopard such as a lion and a tiger, a snow leopard, a jaguar and a European wolf are and a zoo of a rural city is supposed to be satisfying.
Through a unique synthesis of punk and folk, soul and hardcore, traditional Irish music and off-the-cuff improvisation, Ted Leo writes seamless pop songs that are pleasing to the sugar-craving ear and the intellectually curious mind. Ted recently visited Room 205 to perform inside of an ever-evolving set conceived by director Jason Farrell and set designer Tamarra Younis.
BIO
Ted Leo has carved a legacy for himself that is both heady in its political sensibility and advanced in its musicality. Both as a solo artist and with his backing band The Pharmacists, Leo's influences come from the mod revivalism of the Jam, the dubby rhythms of the Clash and the soulful meditations of Curtis Mayfield. By consistently combining his love for 60s pop and soul with an abiding mastery of 70s punk rock, Ted Leo has laid the foundation for punk and hardcore bands of the future.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4loaXdaqqCQJYNlTh3PlzC3
• Vimeo: vimeo.com/album/2233496
Photos
• Flickr: flic.kr/s/aHsjv1jQy5
Music
• SoundCloud: soundcloud.com/goincase/sets/ted-leo-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Jason Farrell: jasonfarrelldesign.com
Set Designer
• Tamarra Younis: union-of-art.net
Set Design Assistant
• Rene Navarette: union-of-art.net
Audio Engineer
• Jon Gilbert: facebook.com/jonathan.gilbert.7796
Camera
• Jason Farrell: jasonfarrelldesign.com
• Erik Denno: dennoproductions.com
• James Wall: jameswalldp.com
Editor
• Jason Farrell: jasonfarrelldesign.com
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• Ted Leo: tedleo.com
Label
• Matador Records: matadorrecords.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
24-5291 Fly Synthesis Storch S500 c/n 432-376A. This model has separate flaps and ailerons, in place of flaperons and a gross weight of 500 kg (1,102.3 lb) - Australian International Airshow 10-15 March 2009. File: 24-5291_YMAV_20090315_6282
1-7-2013 REPRO FREE
Mr Seán Sherlock TD, Minister for Research and Innovation, Mr Richard Bruton TD, Minister for Jobs, Enterprise and Innovation, Jan O'Sullivan, TD Minister for Housing and Planning and Mr Michael Noonan TD at the launch of the Synthesis & Solid State Pharmaceutical Centre (SSPC) based at the University of Limerick.
Mr Richard Bruton TD, Minister for Jobs, Enterprise and Innovation and Mr Sean Sherlock TD, Minister for Research and Innovation announced funding, through the Department of Jobs, Enterprise and Innovation, of €30 million to support world-class research at the Synthesis & Solid State Pharmaceutical Centre (SSPC) based at the University of Limerick.
This exchequer funding is leveraging a further investment of €10 million from industry partners, to the SSPC. The Minister for Finance, Mr Michael Noonan TD and the Minister for Housing & Planning, Ms Jan O’Sullivan TD were present at the announcement. The SSPC is dedicated to supporting the pharmaceutical industry in Ireland which is responsible for over 60,000 Irish jobs and exports over €50 billion annually.
Pic Sean Curtin Photo.
Dan Haynes, in the Materials Synthesis and Electrochemistry Lab at NETL in Morgantown, WV, using a Raman Spectrometer to obtain time-resolved Raman mapping for a mixed-metal oxide catalyst.
Synthesis: a fashion performance at the SA Fashion Week, exploring the relationship between technology and the natural world. Design by Black Coffee. Choreography by Vincent Truter. Performance by Huguette Marara. Lighting Scenography by Rob Wilson. Photography by Christo Doherty. Thursday 22 September 2011, Arts--on-Main, Johannesburg.
Westerbork, Drenthe province of Netherlands.
It is now a site of a powerful radio telescope (en.wikipedia.org/wiki/Westerbork_Synthesis_Radio_Telescope).
In WWII a transit concentration camp lied on this site
Poster for the Bang, Bang, Bang Spring Arts Festival, 1966
Richmond Professional Institute (now VCU)
Gift of the estate of Richard Carlyon
Special Collections and Archives
Location: lower level, study area outside Innovative Media's Workshop
Note: Richard Carlyon was a VCU Presidential Medallion recipient, and professor emeritus. He received his bachelor's and masters degrees from Richmond Professional Institute (now VCU) and taught in the School of the Arts for more than 40 years. He was awarded the Distinguished Teaching of Art Award from the College Art Association of America in 1993 and the Theresa Pollack Prize for Excellence in the Arts in 2001.
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
My greeting is a nod to the difficulty I have in synthesis, synchronizing and simply writing up a few details on a daily basis sometimes. Diary keeping is not my strong point I now realize. It is also a record of almost the only apparent blooms at the moment are the hyacinth. At times, especially with the short days I am lucky to catch a foto to attach the day to. This one has been grasped from the jaws of dusk (and flash). Hyacinth feels like a bit of a cheat but everywhere I see a number of versions of this family in bloom... all pale coloured. Noticed the white flowers of a non-stinging nettle two days back. Dandelion resources becoming noticeably more difficult to find. One healthy big patch of last resort appears to have been treated with a general herbicide and rather than the rich green sward of dandelion and clover with a few thistle has been left tufted and brown... all I expect to manage the thistles.
04,12.2015. Friday. 9.00: help P with delivery to Gosforth. Then catch up on the week of lost 'shopping' in J's car.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Getting into more compact three-dimensional tessellations... I need to start wetfolding or MC-ing these, I have to hold it together just to get a good photo. I've been thinking about denser tessellations, and this is the first exploration into that idea-- I hope to have more soon.
On another note, Happy New Year! As some of you know, I'm a music major at college; and recently I've been playing with Audacity, a really neat sound editing program. Improvising as I go, of course... and I couldn't help but spread the mood a little. So click on the link and take a listen! All of those voices are me, no digital pitch changes; just a few loops. I hope you enjoy this new year as much as I've enjoyed the last!
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
soundcloud.com/toxi/sets/granular-synthesis
Initial tests of image based audio synthesis... Spectrum of the red & blue channels of a slit scanned image. The top row is at 110Hz, the bottom row 8 octaves higher, with 32 tones/octave. The red channel is controlling grains in the left stereo, blue mapped to right. Green intensity (not shown) is used to morph between different wave forms (sine > triangle > sawtooth > square)
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Evanescence at the SEC Armadillo Glasgow on their Synthesis Live tour.
Thanks to Uber Rock for arranging the pass for me.
Korzo, Den Haag 2013
Clara Lozano (Klara Ravat, ES/NL) works with video, film, photography and performance. She uses analogue and digital film, not wanting to choose for one or the other. She is currently looking for ways to combine video and film with the sense of smell.
Synthesis is an audio-odor-visual piece which portrays a transformation towards synthetic communication.