#Arduino one 2018

[missscodes]

Arduino Uno

This is the board I've tinkered with in the past. I was inspired after seeing this video:

When I was playing around with it (probably around 2018, 2019ish?), I used her book to get me started:

I did eventually find the code I made on my old laptop, but I forgot to save it to the new one, whoops. I'll edit post later if I can to show it. If you're seeing this, then I never did get around to it.

[takahashicleaning]

ＴＥＤにて

ニコラス・ネグロポンテ：子供に1人1台ラップトップ計画を語る

（詳しくご覧になりたい場合は上記リンクからどうぞ）

MITメディアラボラトリーの創始者であるニコラス・ネグロポンテが、どのようにして「子供に1人1台ラップトップ」計画を通じて100ドルラップトップを作り、配布するのかを語ります。

一部を書き加えていくと、子供の眼が輝いて、関心や興味が集まることがよくわかりますね。

スティーブジョブズも出てきます。1980年代、セネガルにいた私たちに、スティーブジョブズがラップトップを送ってくれたそうです。

現在のイタリア製のArduino（アルデゥイーノ）やイギリスのラズベリーパイ財団のRaspberry Pi（ラズベリーパイ）というARMパソコンがあり、このニコラス・ネグロポンテによって共感されたアイデアが広がったかもしれません。

小さな使いやすいオープンソースのマイクロコントローラーがシングルボードコンピューターで１０年前のパソコンの処理能力(ほぼ700MHz)が搭載されています。

たった数千円で電子工作以上のPICプログラムが組めるなんて•••

しかも、会社でしかできなかったことが、簡単にできるなんて素晴らしい世の中になったもんですね。２０１５年の現在では、一人一台Raspberry Pi Zeroがたった５ドルです!

２０１７年では、Raspberry Pi 3になって数年前のノートパソコン並みに64ビットのクワッドコアになり処理速度を上げています。Wi-FiとBluetoothも内蔵されました。

（合成の誤謬について）

合成の誤謬とは、ミクロの視点では正しいことでも、それが、合成されたマクロ（集計量）の世界では、必ずしも意図しない結果が生じること。物理学では、相転移みたいな現象です。性質が変わってしまうということ。

ミクロのメカニズムが個人同士の経済における仕組みであるのに対して、マクロのメカニズムは、国家間や経済全体の循環における仕組みだからである。

例えば、家計の貯蓄などがよく登場するが悪い例えです。前提条件が、所得が一定の場合！！所得が一定じゃない増加する場合は？これは、論じていませんので参考になりません！！（法人が提供する製品やサービスの価格も一定の場合も前提条件です）

１９３０年代のアメリカ経済が金融危機2008と似たような状態に陥った時、ケインズは、「倹約のパラドックス」というケインズ経済学の法則を発見しています。

それは、ポール・Ａ・サミュエルソン(1915-2009)が、近代経済学の教科書「経済学」の冒頭で「個人を富裕にする貯金は、経済全体を貧困にする！（所得が一定の場合）」というわかりやすい言葉で表現しました。しかし、庶民の所得が増加し、貯蓄が投資、消費に回る場合には、「倹約のパラドックス」は生じません。

その後、この「倹約のパラドックス」は、アメリカの経済学者・ケネス・Ｊ・アロー(1921- )が「合成の誤謬」を数学的論理に基づいて「個人個人がそれぞれ合理的選択をしても、社会システム全体は合理的選択をするとは限らない」を検証してみせた。

要するに、部分最適ではなく、全体最適させていくということ。

つまり、新産業でイノベーションが起きるとゲーム理論でいうところのプラスサムになるから既存の産業との

戦争に発展しないため共存関係を構築できるメリットがあります。デフレスパイラルも予防できる？人間の限界を超えてることが前提だけど

しかし、独占禁止法を軽視してるわけではありませんので、既存産業の戦争を避けるため新産業だけの限定で限界を超えてください！ということに集約していきます。

なお、金融危機2008では、マイケル・メトカルフェも言うように、「特別資金引出権（SDR）」は、2008年に行われた緊急対策で、一国だけで行われたのではなく、驚くほど足並みの揃った協調の下に国際通貨基金（IMF）を構成する188ヶ国が各国通貨で総額2500億ドル相当を「特別資金引出権（SDR）」を用いて世界中の準備通貨を潤沢にする目的で増刷してます。

このアイデアの根本は、元FRB議長であったベンバーナンキの書籍「大恐慌論」です。この研究がなければ、誰一人として、変動相場制での当時の状況を改善し解決できなかったと言われています。

それ以前では、固定相場制でのマーシャルプランが有名です。

続いて、トリクルダウンと新自由主義

インターネットの情報爆発により隠れていた価値観も言葉となり爆発していくことになった。

しかし、法定通貨の方が、その価値、概念に対する通貨量拡大として価格で応じることができず、圧倒的に通貨量が足りない状況が生まれていたのが、2010年代の問題点のひとつでした。

リーマンショックの後に、新自由主義が誤りであることが、ピケティやサンデルによって指摘され、当時のFRBバーナンキ議長が、通貨供給量を大幅に増やした対策により、ベースマネーの金融、銀行間の相互不信を解消して収束した。

それでも、まだ足りないが、適正水準に収まったことで、さらに価値も増幅され、マネーストックの財政政策から再分配、事前分配を大規模に行い、さらなる通貨供給量が重要となっている現在の日本国内。

例えば

Googleがしようとしてた事は、まだ新産業として、基礎研究から発展できない機械学習の先端の成果をすべて持ち込んだ社会実験に近いこと。

シュンペーターの創造的破壊は、一定数の創造の基礎を蓄積後に、未来を高密度な��イデアで練り上げてから破壊をするのが本質です。

こうして、憎しみの連鎖や混乱を最小限にする。

アルビン・トフラーの言うように、法人と行政府とのスピードの違いが縮まらないのは、構造上の違いであって、それを補うためにプラスサムな連携するということが、必要になってくることを説いています。

三権分立が、規制のないGAFAMを非政府部門としてMMT（現代貨幣理論）からプラスサムに連携したらどこで均衡するのか？という社会実験も兼ねています。

このような前提で、あらゆるインターネット企業が、創業時、貢献するためコンセプトの中心であったものが、今では、悪性に変質して違う目的に成り下がっています。

再分配、事前分配の強化がスッポリ抜けてる欠点があり、ここに明かしたくないイノベーションの余地があります！！

2021年には、新自由主義のような弱肉強食では自然とトリクルダウンは生じないことは明らかになる。

確かに、トリクルダウンは発生しないが、法律で人工的に同じ効果は、貨幣の再分配、事前分配という形にできる可能性は高い。

再分配や事前分配をケムにまく「金持ちを貧乏にしても、貧乏人は金持ちにならない」「価値を生み出している人を罰するつもりがないのであれば税に差をつけないほうがいい」（サッチャー）

とあるが、新自由主義は誤りで、ピケティやサンデルによると違うみたいだ。

(個人的なアイデア)

One such rocket engine, about one hundred million yen units in a unit of several hundred million yen It is real to realize the product in the price range that can not reach the price range of hundreds of thousands of yen reaching ordinary people with technologies far beyond the limits of human beings It may be an innovation that will become a plus-sam of it.

こういうロケットエンジン、ジェット機くらいのひとつ数億円単位で手の届かない価格帯の商品を庶民に手の届く数十万円くらいの価格帯に人間の限界を遥かに超えるテクノロジーで実現することが本当のプラスサムになるイノベーションかもしれません。

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マッシモ・バンジ：創造力をオープンソース化するArdurino

Raspberry Pi Zero 5ドル

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Raspberry Pi 3 model B Launch - 64-bit quad-core ARM Cortex A53

＜提供＞

東京都北区神谷の高橋クリーニングプレゼント

独自サービス展開中！服の高橋クリーニング店は職人による手仕上げ。あなたが服を持ち込む手間も無用。家まで届けてくれる。お手頃50ですよ。往復送料、詳細は、今すぐ電話。東京都内限定。北部、東部、渋谷区周囲。地元周辺区もＯＫです

東京都北区神谷高橋クリーニング店Facebook版

[gilmourtheapatosaur]

List 5 things that make you happy, then put this in the askbox for the last 10 people who reblogged/liked something from you. get to know your mutuals and followers!

1) Dinosaurs. Anything dinosaurs. Even if inaccurate or paired together in the wrong time periods. Guilty of drawing my Jurassic ocs with Cretaceous ocs since I want to include sauropods in everything.

2) Cycling. Only started as a faster way to get to my old job since I was too poor to have a car but now it’s cycle as much as possible. Weekend mornings are spent on the nearby trail to a local cafe if the weather’s good. A few years I spent in Denmark really cemented my want to cycle everywhere I go and never own a car again.

3) Building things. Lego, wood cutting & assembly, ceramics, anything that involves putting things together. Trying to get involved with computer assembly, arduino kits, and finding a space to learn more woodworking skills.

4) Drawing. Even if I haven’t for a real long time I like to gaze at what I’ve sketched & think either ‘I drew that’ or ‘huh I can make a better one.’ I met a lot of great friends over the years this way, but with how the internet is nowadays I fear putting stuff up on sites only for it to be taken down and I’d have to find other places to meet friends. So if you know me from my drawing I haven’t posted much since I’m terrified of the next wave of policy mistakes that will tear art communities apart. Looking very hard at you 2018 Tumblr…

5) Cooking. Some days it’s a chore just to not go hungry. Other days it’s something I look forward to since I’m an adult that can choose what I want to cook. Trying new recipes is the best thing, and autumn is the best season to make a lot of my favorite meals.

[foxcomment]

Not an expert, but still

I've tried Some vr headsets (cheap ones), and I can.. pretty much rate some of them. Most of them been used for the "business" purposes (in education), and you know, you have to be creative with all you have to unleash its power~

So here's all the headsets I've tried:

-CardboardVR Cheap, weird thing you have to configure. It's better not to use it as VR, but an AR device with phone mounted above your head and having its reflaction on a piece of transparent plastic/glass in front of you. So this way you won't be affected by motion sickness. Lack of controllers might be fixed my using OSC controllers.

-Oculus go My first headset I used as an educational tool, was (and still is) a pretty good and cheap tool in education, lacks some important features like cameras, but it's possible to get those functional with OSC, neat. Why not quest? Multiple peoples (and kids) are not allowed to use these thing, and the lack of cameras makes me feel more safe from Zucc.

-GearVR Like an oculus go, but has an important addition - Camera. So it's possible to use AR cards for some interaction and positional tracking.

-Vive Focus (Original) Never owned, but had to use one or twice, and from my experience it's like go, but better, because of the cameras and positional tracking. You can put a light ball on its controller and get it working in 6-dof. Plus you get a consistent facing rotation and no head drift, so it's possible to slap a vive tracker on it and not worry about headset's drifting y coord and syncing it with a tracker.

-Vive Pro Eye Perfection, but I prefer not to use it in education because it's bulky for anything but me. And I've never tried anything better anyway. My Leap Motion face tracking OSC makes it a perfect thing in everything. But sometimes, just Sometimes, I with it could do a thing like Cosmos when you have those kick back thingy, idk how it's called.

-Vive (original) Literally tried once in a VR club before I've got my first headset.

-DIY junk First time I tried vr was with my own headset. But you know, it's better to call those thing just a stereo display, because it had no working head tracking. CBVR box + RPI TFT and long HDMI cable with arduino. With a simple click of a key I could turn 2d screen into a stereo image. First time I've ever experienced a sense of deph with a screen. Even 40hz was more that enough to hook me up into thing back in 2018. It you want to get a stereo thingy, better use your phone with CBVR, I had no CBVR compatible phones at the time, so I had to use things I had back then.

[mariichuygarciia-blog]

Una práctica sencilla para aprender a usar arduino

A continuación, se dará a conocer el funcionamiento de un pequeño piano, hecho con Arduino Uno y un zumbador que funcionará como bocina. Este piano estará conformado por las principales notas musicales Do, re, mi, fa, sol, la, si, cada uno conectado a un push button.

Materiales

Los materiales que van a necesitarse son los siguientes:

7 Push button.

Arduino.

Zumbador.

Cables UTP.

Protoboard.

[woodworking-diy]

PCF8574 GPIO Extender - With Arduino and NodeMCU

In my last tutorial, I talked about the TCA9548A MUX which can be used to add at the max of 64 I2C or I²C sensors to your Arduino/ESP8266/ESP32.In this tutorial, I am going to talk about the PCF8574 8-bit GPIO Port Extender. It is one of the many GPIO extenders available in the market.This tiny little board becomes a life saver When you run out of pins on your Arduino. This "GPIO (General Purpose Input Output) pin extender" provides an additional 8 pins (P0 ~ P7) which can be used to 'output a signal' or 'read a signal as an input'.These modules run on the I2C bus, and if daisy-chained you can connect upto 8 of these devices in a project. Each device will give us an additional 8-bits of GPIO enabling 64 GPIOs in total.These ICs are ridiculously cheap and can be bought easily from eBay or AliExpress. If you don't want to worry about the wiring and just want to keep your project really "simple", then you can buy these fully assembled breakout boards. You just need to hook them up to the I2C bus and you are all ready to go.

Blog Post: https://diyfactory007.blogspot.com/2018/12/pcf8574-gpio-extender-with-arduino-and.html

[gramilano]

Sylvia with Martina Arduino, Claudio Coviello and Nicola Del Freo, photo by Brescia e Amisano, Teatro alla Scala 2019

Sylvia opened the 2019-2020 ballet season at La Scala. It is a co-production with the Wiener Staatsballett where it opened in November 2018. There have been no changes to Luisa Spinatelli’s sets and costumes or Manuel Legris’ choreography, which suggests that everyone was pleased with how it turned out in Vienna. However, while the overall evening is extremely pleasing, it is La Scala’s dancers who really make it shine, as certain elements of the staging are odd.

Legris gives the dancers lots (and lots) of steps, but it’s maybe impossible to tell this story clearly to a modern audience, most without a classical education: who’s that woman with the bow, why is the man with silver hair sleeping? Legris cleverly tries to help by using the overture as a prologue portraying the huntress Diana (hence the bow) and her passion for Endymion (he of the silver hair). This is how many words the programme ‘synopsis’ needs to sum up the action of the short five-minute prologue:

Diana, the Goddess of the Hunt, sees a double image of herself in Sylvia, who is bound to the goddess through her love of hunting and by a vow of chastity. However, the goddess is in turmoil. Suddenly it is no longer Sylvia that she sees before her, but Endymion, her obsessive lover, whom she has caused to sleep forever so that she can gaze on his youth and beauty without ever breaking her vow. Diana tries to regain control of herself, but Endymion stands before her, full of passion… The goddess surrenders! But soon the sound of horns mercilessly drags her back into reality. Thanks be to the gods, it is Sylvia that now stands before her! Diana seizes her bow. Let the hunt begin.

Got it? I don’t believe that this prologue helps to explain the subsequent action, and possibly confuses things even more with Endymion only appearing again in the final seconds of the ballet, still sleeping, and Diana disappearing for a couple of hours until mid-third act when Sylvia angers her by entering the Temple of Diana. It’s all the fault of Torquato Tasso who wrote his play Aminta in 1573 about the nymph Sylvia, who prefers a good hunt to a smooch with Aminta, until… oh well, never mind. Things were complicated further when librettists Jules Barbier (who wrote the libretto for Offenbach’s The Tales of Hoffmann) and Baron de Reinach (who principally was a banker!) added in Orion, the hunter; Eros, the god of love; and the multi-tasking Diana who in this ballet is linked with not only hunting but the moon and chastity. So it’s a hotch-potch of Roman and Greek mythology, though presumably the intention was to mirror Diana’s love for Endymion and Sylvia’s for Aminta. It’s a help to read the (long) synopsis before curtain up.

There is also something that smacks of low budget (or badly-made) scenery, with Spinatelli’s meticulously designed backdrops and wings looking slapdash and shabby, though many of the costumes are gorgeous. Jacques Giovanangeli’s lighting was often unflattering to the sets, highlighting the creases in the cloths, and a lazy follow-spot operator occasionally left the dancers in darkness. It’s unfortunate because Spinatelli’s designs of gauzy, mysterious transparency is ideal for a work of myth and illusion.

There are many highlights, which more than compensate for the baffling plot and the flimsiness of the scenery. Léo Delibes’ wide-ranging music is glorious, from the epic and slightly pompous opening, to the cheery bucolic tunes, to the famous pizzicato variation for Sylvia. The orchestra was brilliantly led by American conductor Kevin Rhodes who was more theatrical and effervescent during the applause than even the lead dancers.

Sylvia with Martina Arduino and Claudio Coviello, photo by Brescia e Amisano, Teatro alla Scala 2019

Although Legris has used much of Louis Mérante’s 1876 choreography from the ballet’s Paris premiere, he fills in the gaps with a multitude of steps, and it would be interesting to know the jeté count – there are certainly a lot, and for the whole company too, so it’s a tiring evening for the dancers. But how they dance! The corps de ballet is excellent whether as the fearless huntress companions of Sylvia, the frolicking naiads and fauns, or the peasants enjoying their bacchic feast.

La Scala fields two main casts and they are both strong throughout. Martina Arduino was the opening night Sylvia, followed by Nicoletta Manni. Both are magnificently sure and resilient to the role’s arduous demands – after they enter onstage, the pace never lets up. Manni has an impressive jump, which she can show off continuously in this choreography. She has almost insolent aplomb in many of the trickiest passages, and her long, lithe limbs reveal some exquisite lines. Arduino is softer, especially with her port de bras, and shows more heart, though she too pulls out the big guns for the technical challenges and manages complicated menage sequences with nonchalance. Two very different, but winning, portrayals.

With the fear of running out of adjectives, let’s run down the cast lists. Claudio Coviello as Aminta is a technical marvel and communicative; Marco Agostino in the same role strangely registered less as a character, even though he has a strong jawline and an attractive face, but there were some magical moments, such as when he slows down his pirouettes to a standstill, and an athletic sequence with Manni where they were the mirror image of each other. There were two magnificent Orions: Christian Fagetti then Gabriele Corrado, powerful and assertive both in their dancing and acting and with an abundance of stage presence. There is obviously something odd going on offstage because, gobsmackingly, Corrado, who is one of the company’s most valuable members, doesn’t even have a full-time contract, let alone the role of soloist, yet he consistently performs with excellence in leading roles. I imagine this incongruousness will be corrected soon.

Sylvia Christian Fagetti photo by Brescia e Amisano, Teatro alla Scala 2019 09

Sylvia Maria Celeste Losa photo by Brescia e Amisano, Teatro alla Scala 2019 01

Sylvia Martina Arduino photo by Brescia e Amisano, Teatro alla Scala 2019 14

Sylvia Claudio Coviello photo by Brescia e Amisano, Teatro alla Scala 2019 07

Then we come to Eros. Nicola Del Freo and Mattia Semperboni (who was also superb as the peasant in the opening cast) were formidable. They are very different dancers – Del Freo with legs as strong as steel and secure in every movement; Semperboni, more elastic and with stunning virtuosity – but both brought the house down… thrilling. Endymion, as an added role, has little time to dance as he has only the music of Delibes’s overture and this he divides with Diana, but Corrado and Gioacchino Starace made the most of their limited time. And playing Diana was Maria Celeste Losa has become one of the theatre’s go-to performers when you want a job well done, as indeed is the unfailingly fine Alessandra Vassallo in the alternative cast.

As the gymnastic Faun, there was Federico Fresi who always gives his all and is exciting to watch, and Valerio Lanadei (also a personable Shepherd on the first night) who was spot-on in his approach to the character and his dance. Other names which should be mentioned are Vittoria Valerio, Gaia Andreanò, Antonella Albano, Alessia Auriemma, Eugenio Lepera, Camilla Cerulli, Benedetta Montefiore and Domenico Di Cristo, all perfectly cast in smaller, though challenging, roles.

Sylvia, like Legris’ Le Corsaire at La Scala in 2018, is perfect for a company with numerous talents yet few performances, giving many opportunities for everyone to dance, but the opening scene needs rethinking with some stronger mime to explain what is happening, and Spinatelli’s sets deserve a makeover.

Sylvia Nicola Del Freo photo by Brescia e Amisano, Teatro alla Scala 2019 18

Sylvia Martina Arduino, Claudio Coviello photo by Brescia e Amisano, Teatro alla Scala 2019 22

Sylvia Antonella Albano, Mattia Semperboni, Valerio Lunadei photo by Brescia e Amisano, Teatro alla Scala 2019 17

Sylvia photo by Brescia e Amisano, Teatro alla Scala 2019 10

Sylvia Nicola Del Freo photo by Brescia e Amisano, Teatro alla Scala 2019 08

Sylvia Maria Celeste Losa, Gabriele Corrado photo by Brescia e Amisano, Teatro alla Scala 2019 02

Sylvia Vittoria Valerio photo by Brescia e Amisano, Teatro alla Scala 2019 04

Sylvia Federico Fresi photo by Brescia e Amisano, Teatro alla Scala 2019 03

Manuela Legris’ Sylvia shows La Scala’s dancers on top form Sylvia opened the 2019-2020 ballet season at La Scala. It is a co-production with the Wiener Staatsballett where it opened in November 2018.

[wolfliving]

Pebble watches still not dead

*Mostly because the users like them and they were murdered by Fitbit.

https://www.ifixit.com/News/rebble-with-a-cause-how-pebble-watches-got-their-amazing-afterlife

In the early summer of 2018, you could buy an Apple Watch with built-in GPS, wireless payments, and speakers that buzz water out after a swim. Meanwhile, Katharine Berry was hustling to keep five-year-old watches with black and white screens alive.

Berry had worked for Pebble, maker of the first notable smartwatch. The company was acquired by Fitbit and shut down a year and a half earlier. Now Fitbit was turning off the servers that fed Pebbles apps, weather, and other useful data.

But Berry and a cadre of crafty enthusiasts, the Rebble Alliance, had prepared for this moment. They had archived Pebble’s web and development assets, opened up the devices’ firmware a bit, and worked with former Pebble and Fitbit developers inside a Discord channel. Berry, between jobs, sprinted for two weeks to code a replacement cloud infrastructure. She guessed that, if they could pull it off, maybe a thousand people, at most, would try it out.

One morning seven months later, Berry realized that Rebble had 100,000 accounts. Today, more than 212,000 accounts have been created—more than 10% of the two million Pebbles ever sold—and nearly 9,000 have subscribed. Press coverage certainly helped. But, really, it is Rebblers’ enthusiasm that keeps their watches running, precisely because Pebbles are not modern, in all the best ways.

“It goes out of its way to get out of my way,” said Joshua Wise, one of Rebble’s primary developers. “The Apple Watch … and Android Wear wanted you to interact with them, to make them the center of your life. The Pebble wants to not at all be part of your life, up until it does something useful for you, and then it lets you go back to your life.”

Rebble is saving thousands of gadgets from the bin and building a real community around dogged longevity

Rebble is an inspiring repair story, and the way Pebble enabled this second life is a path that every gadget manufacturer should strive to emulate. Pebble created an open (and open-source) environment for developers and enthusiasts. As a direct result, Rebble is saving thousands of gadgets from the bin and building a real community around dogged longevity. Keeping Pebbles running, in the face of much fancier options, knitted the community together.

From Grandpa Bike to Next Steve Jobs

Eric Migicovsky was studying abroad at the University of Delft, Netherlands in 2008. He fit in with his sturdy, reliable cruiser bike (known to locals as an opafiets, or sometimes “Grandpa bike”), but he knew he would crash if he kept checking his text messages while riding. In his dorm room, he patched together an Arduino controller, a few buttons, a battery, and the screen from a disassembled Nokia 3310. His first idea was a bike computer, but “someone was like, you should probably just make it a watch,” he later said....

[hugopaquete]

Title; Dromology of orbital bodies: sound composition, using commercial and military satellites tracking technologies. Year: 2018-2019 Core Area; Space-Earth Interactions background (problem / need / opportunity): Problem: This project is part of my doctoral project entitled Imanências Espectrais: Reflexão sobre o Pós-Digital nas Artes Sonoras in progress, funded by FCT: Foundation for Science and Technology. It starts from my experience with sound spatialization for multiple audio channels and the need to establish elements of sound production and autonomous trajectories starting from the concept of exteriority and telematics. Thus, this project reflects on the sound spatialisation where routes, trajectories and movements are developed, which in this case are mapped and sonified in real time by means of orbital motion of the satellites in real time, articulating in a direct relation with devices external to the planet earth that represent human activity at the limits of the planet and the universe. Need: To develop this project, it was necessary to first understand what technical possibilities were needed to develop the project and this connection. The solution was to find an IP with the information of all commercial and military satellites and have an update in real time. This issue was critical to the project because composition and spatialization had to be generated in real time. Access to "information flows" was therefore critical to the toning processes involved. This situation has been solved with the development of a software and hardware that allows to access in real time this information with also to choose the satellite that is to be followed in real time. These issues were solved in partnership with my collaborators Christopher Zlaket (1992) of Arizona State University, specialized in interface design and David Stingley (1993) of MIT, specialized in computer science. Methodology; Exploring the technical means of hardware and software to establish a telematic relation with civil or military satellites as elements that have autonomy, an orbit and can generate indeterminism in the production of the musical-sound work. In this way, the research allowed the development of an autonomous technological system to generate sound starting from the processes of sonification and the conversion into musical sound elements of spatialisation to integrate in my processes of artistic experimentation, reinforcing the practical theoretical investigation that I develop. Using the Arduino one r3 to a Midi shield as three possibilities. Input/Output and through conversations for Midi. Thus, using the midi protocol we could control virtual sound and image software as well as analog synthetics hardware. This practical, theoretical project, serves to construct discourses in art from where they immerse in concepts such as telematics and electromagnetic fields of information, accentuating the context of the impacts of technology as a culture in society and its implications, social, political and meaning. It drives concepts such as post-media and post-digital and their consequent analyzes and discursive implications in the 21st century. Results; Construction of technical hardware and software to expand the possibilities of sonification in the sound arts. Presentation of practical examples developed as the built system. The impact of the research work; Contribute conceptually to the understanding of the concept of post-digital through the artistic and technical device based on a practical, theoretical investigation that by means of sonification processes expands the fields of representation in the art and the formal means in the musical sound expression.

[mostlysignssomeportents]

Argentine hacker mods Furby so it quotes Borges, creates a "Borgy"

Argentine hacker [Roni Bandini] modded a 1998 Furby so that it responds to stimulus by rattling off a random quote from Jorge Luis Borges. He calls it "Borgy."

[Roni] hacked the Furby to replace the speaker with a more powerful one, and built a base to hold the larger speaker and a switch which can activate Borgy. He also used an Arduino Nano and a Sparkfun MP3 player shield loaded with the samples of Borges.

When the Furby speaks, it shares some wisdom from Borges. It’s a simple, but a surprisingly effective hack that could be very useful for someone seeking inspiration.  Or, as Borges himself once said: “Don’t talk unless you can improve the silence.”

https://boingboing.net/2018/12/09/library-of-furby.html

[chrisdouris]

An Introduction

I’ve had my Tumblr account for quite some time now but I never got myself to post. So here we go! My first post! The reason I made the blog is to keep a track of what I am doing so I can keep myself going with what I am doing and stop being lazy.

Now, some words about me :

I was born in Greece in 1993 and I went to school here. At high school, I took up guitar lessons because I was in love with rock and heavy metal music (Well, I still am). After finishing high school I decided to start studying music technology at Akmi IVT. There I found out about music production, composing, mixing, mastering and sound design.

During the fourth semester, I joined Floating Island Studios as a sound designer and music composer for an RPG game which never came to fruition because it was a hard feat for beginners.

Later we released our first game Taco Gun! I participated in the project as a sound designer mostly but I still ended making 3 tracks for it. Our next project is named Super Swing Adventure and there’s an early version available on Play Store! Also, it will be released soon! So, if you’re interested stay tuned!

On SSA, I have participated as a sound designer and music composer.

At October of 2018, I started studying at the University of East London Metropolitan College campus for my Bachelor of Arts degree in music technology.

I’ve met a lot of issues during my studies because things were much different than expected and it was very stressful for me because of the obstacles that appeared during my studies.

Still, I finished the year successfully delivering the following projects :

1. A performance with surround audio, guitar playing, launchpad pro playing and visuals reacting to the middle, high and low frequencies which were made in Derivative’s Touchdesigner non-commercial.

2. A guide to sound and music in videogames and the industry in Greece. Which led me to talk with various people in the Industry in Greece and learned why things are not that great at the moment. The project ended in making a Website and doing a presentation of the said guide. Even though I was alone, I still proceeded to record my presentation.

3. My Final Project was a guide to Visuals and Lights in Musical Performances. This one was very interesting because of the new things I learned during my studies. This is how I got an interest in visuals and Lighting design with Applications like Resolume Arena, Touchdesigner, Iannix and Processing 3. My project ended with a visual performance with visuals created and controlled by me and presentation in front of my classmates.

This didn’t end there though! One of the lecturers knew how to code and I asked him to teach me how to implement audio in Unity Engine. These lessons helped me a lot because I started Implementing audio in Unity Engine for our Super Swing Adventure.

During, the second semester a new teacher started helping students with applications like Max MSP, Max for Live, Ableton Live, and Arduino. I started showing up in his lessons and taught me how to use Touchdesigner for my projects. One day he showed my Processing 3 and we decided to start a project for an Escape the Room game.

Sadly, we didn’t manage to finish it before the end of the semester. But we still working on it which helps me to learn how to code too.

Oh! I almost forgot! During my studies, I helped 3 movie directors with their short movies. I participated as a boom man and location recording engineer at the same time in all 3 of them. But I ended up designing sound, editing music and mixing in only one of them. The other directors never contacted me again which is a shame because I would have loved to have all 3 movies on my portfolio.

The one I ended up editing and mixing ended up to be quite good. So I am very happy with it. Also, it got me interested in learning Blackmagic’s Davinci Resolve which is an awesome(Free too!!!) app for audio and video editing.

So, now I have to learn how to code, learn more things on audiovisual installations, Arduino designing, Video Editing, and advanced music theory.

Even though it looks like there are a lot of things to learn, they are going to help me a lot in the future. Because coding, Arduino and video editing will help me with audiovisual installations and audio implementation in video games. Music theory will help me in writing music for various projects.

So everything is connected in a way!

Well, that’s all from me for now. There are more things coming since I started writing here.

That’s all for now!

[wezside]

The Crank. . . . January saw a restoration of the "I Love U" art piece for @roebyanyothername . We helped design and build this piece back in 2018 which formed part of her solo exhibition with the same title exactly one year ago. The work will be part of a prestigious group exhibition in Belgium in March called Festival of Control. . . . #art #digitalartwork #creativetech #tech #sketches #makersgonnamake #makers #arduino #electronics #interactiondesign #interactiveart #instatech #coding #techy #techie #makersmovement #installations #interactive #creativetechstudio #studiolife (at Cape Town, Western Cape) https://www.instagram.com/p/BuQYDkNBfCe/?utm_source=ig_tumblr_share&igshid=19rzdd3pnpgzn

[gramilano]

George Balanchine’s The Nutcracker®, Act 1 snow scene, photo by Brescia e Amisano, Teatro alla Scala 2018

Balanchine’s The Nutcracker is new to La Scala, in fact, new to Italy. And how the Scala regulars were relishing in the opportunity to grumble and mutter “humbug” during the interval. It’s certainly different from the Nureyev production which was seen in Milan for many years, and light-years away from the strange version by Nacho Duato that the theatre endured four years ago but which has already been consigned to La Scala’s extensive bin in the sky.

Balanchine’s version is danced less than Nureyev’s in the first act, and it has a less original storyline than Peter Wright’s versions for The Royal Ballet and the Birmingham Royal Ballet, but if you accept that it starts with lots of mime, and group ‘walking’ dances, and slowly moves its way toward the pas de deux finale — the dancing only kicking in with the snowflakes — it is a beautifully crafted piece of theatre. And if the acting scenes are handled as well as they were at La Scala, with charming and not vomit-inducing children, with realistic interactions among the guests, and subtle background stories being played out, it is an absolute joy to witness.

George Balanchine’s The Nutcracker®, Valerio Lunadei as the Soldier, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Paola Giovenzana and Vittoria Valerio as Harlequin and Columbine, photo by Brescia e Amisano, Teatro alla Scala 2018

There are, of course, two dancing spots in the first scene when Drosselmeier – here sporting a bizarre Harpo Marx wig — brings Harlequin and Columbine, and the Soldier, out from their boxes. Tempi throughout were often slower that at the New York City Ballet, and that took the wind out of the sails of the Harlequin and Columbine number, but Valerio Lunadei was exciting as the Soldier as was Mattia Semperboni in a second cast.

Designer Margherita Palli has largely followed the spirit of the NYCB production in the first scene with some ravishing costumes for the guests, especially for the little boys in a dark palette of velvet knickerbocker suits; her snow scene is dazzlingly bright and crisp; but her land of the sweets was disappointingly flat. Where her designs in the programme show a shopfront inspired by Vienna’s Apotheke zum weissen Engel (here called “La Gourmandise”), which I imagine was to fade in transparency to reveal the shop behind as the gauze was raised, we were immediately in the shop as the curtain opened. And while her shop design was full of predominantly pink and green goodies — blancmanges, cupcakes, gateaux, bowls of fruit — all in enticing detail, there was a wall of pink. The elements were all there, and La Scala has some excellent scene painters, so I suspect the look may have been down to overenthusiastic lighting by Marco Filibeck which didn’t let the designs speak for themselves. Oddly — though maybe someone knows an historical reason for this — the ‘throne’ for Marie (not Clara in this version) and her Prince to sit on was a scallop shell decorated with a starfish a conch shell with two pearls as seats… in the land of the sweets?

George Balanchine’s The Nutcracker®, Act 2, photo by Brescia e Amisano, Teatro alla Scala 2018

Palli’s elegant colouring of the first act costumes was thrown to the wind in this act which sees groups of costumes for hot chocolate, tea, marzipan, candy canes and so on go from stylised (marzipan) to feebly commonplace (tea) with colours ranging from almost fluorescent to subtly shaded pastels, so that when they all shared the stage it looked a real muddle.

George Balanchine’s The Nutcracker®, Nicoletta Manni as the Sugarplum Fairy, photo by Brescia e Amisano, Teatro alla Scala 2018 01

George Balanchine’s The Nutcracker®, Nicoletta Manni as the Sugarplum Fairy, photo by Brescia e Amisano, Teatro alla Scala 2018

The first night Sugarplum was Nicoletta Manni, who was as calm and assured as ever, notwithstanding the difficulty of the role. Timofej Andrijashenko, poised as her Cavalier, doesn’t get much chance to shine but was dashing and dignified. Beatrice Carbone was radiant as the mother, Frau Stahlbaum, possessing a face that easily projects to the whole house. Andrea Crescenzi as Tea was magnificent with each grand jeté à la seconde seeming ever-higher and easier, Nicola Del Freo was confident with his hoop as Candy Cane, Vittoria Valerio made Marzipan’s steps seem effortless, and Samuele Berbenni hit just the right tone as Mother Ginger in Palli’s glorious, mouth-watering costume.

George Balanchine’s The Nutcracker®, Samuele Berbenni as Mother Ginger, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Nicola Del Freo as Sugar Cane, photo by Brescia e Amisano, Teatro alla Scala 2018 01

George Balanchine’s The Nutcracker®, Andrea Crescenzi as Tea, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Maria Celeste Losa as Coffee, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Vittoria Valerio as the Marzipan Shepherdess, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Nicola Del Freo as Sugar Cane, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Francesca Podini and Massimo Garon as Hot Chocolate, photo by Brescia e Amisano, Teatro alla Scala 2018

It was Martina Arduino, though, who stole the show as Dewdrop, being the only one to really capture the Balanchine style. Her off-balances were daring, her epaulement and stretched-back neck opened up her dancing to the gods, and her port de bras was ample and extreme without being excessive. She’s either been doing secret classes in New York, shrewdly studying videos of the great Balanchine ballerinas, or has stumbled on a technique she just happens to be perfect for.

George Balanchine’s The Nutcracker®, Martina Arduino as Dewdrop, photo by Brescia e Amisano, Teatro alla Scala 2018

Less than 24 hours later, Arduino found herself as the Sugarplum Fairy and showed off brisk turns before a deep and pliable cambré during the final pas de deux, with little head movements keeping the upper body free and supple. She also has great charm and has become a firm audience favourite. Her Cavalier was Del Freo whose pirouette sequence was musical and exuberant.

George Balanchine’s The Nutcracker®, Martina Arduino as Dewdrop, photo by Brescia e Amisano, Teatro alla Scala 2018 02

George Balanchine’s The Nutcracker®, Martina Arduino as the Sugarplum Fairy, photo by Brescia e Amisano, Teatro alla Scala 2018

This second cast found Crescenzi this time as Candy Cane and he caught the spirit of the solo perfectly with the cute wiggle when jumping through his Hula Hoop, and he was literally bent double in his leaps through the hoop for the ballet’s finale. Riccardo Massimi as Dr Stahlbaum maintained his period elegance during his good-humoured play with the children and Gaia Andreanò made a convincing debut as Dewdrop.

Company Director Frédéric Olivieri’s approach to casting seems to use the occasional reduced price performances as an opportunity to test out new talent. It worked marvellously well with Don Quixote before the summer last year, and he got it right again with the third cast which debuted in the first performance of this year.

George Balanchine’s The Nutcracker®, Act 1, photo by Brescia e Amisano, Teatro alla Scala 2018 01

George Balanchine’s The Nutcracker®, Act 1, photo by Brescia e Amisano, Teatro alla Scala 2018 02

George Balanchine’s The Nutcracker®, Act 1, photo by Brescia e Amisano, Teatro alla Scala 2018 03

Caterina Bianchi and Mattia Semperboni took the two main roles. Both have had notable successes during 2018 — Bianchi as the Queen of the Dryads in Don Quixote and Semperboni as Alì the slave in Le Corsaire. They appeared wonderfully confident and glided through the technical difficulties without a hitch. She is a musical-box ballerina with perfect proportions and must be a joy to partner; he has grace combined with impressive pyrotechnic thrills. La Scala has a new pair of leading dancers.

Massimi and Emanuela Montanari were delicious as Hot Chocolate in their dreadful costumes — good on paper, horrendous on stage — Crescenzi repeated his crowd-pleasing Tea, Andreanò was a near-perfect marzipan shepherdess and we’ll surely see much more of her in coming seasons. Regrettably, Lunadei came into trouble with his hoop a few times and it remained trapped under his feet for the final pose, but as they say in Italian, “Non tutte le ciambelle riescono col buco”, literally, “Not all doughnuts come out with a hole” or rather… things don’t always turn out as planned.

As with all good meals I’ve left the coffee until last. All three casts offered supple, graceful dancers as Coffee. Maria Celeste Losa and Francesca Podini were both superb, but the first cast’s Paola Giovenzana was sensuous as well as sinuous and she’s another name to note.

The best Marie/Prince pairing — the children Chiara Ferraioli and Edoardo Russo — were whisked off into the sky in a giant gingerbread sleigh with, unfortunately, all its supporting cables clearly illuminated, as was the rope pulling up the Christmas tree transformation in the first act. Come on La Scala, nowadays the magic can seem real.

George Balanchine’s The Nutcracker®, Nicoletta Manni and Timofej Andrijashenko, photo by Brescia e Amisano, Teatro alla Scala 2018 01

George Balanchine’s The Nutcracker®, Nicoletta Manni and Timofej Andrijashenko, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Nicoletta Manni and Timofej Andrijashenko, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Act 1 snowscene, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Act 1 snowscene, photo by Brescia e Amisano, Teatro alla Scala 2018 02

In Balanchine’s Nutcracker at La Scala the magic is almost real – three casts reviewed Balanchine’s The Nutcracker is new to La Scala, in fact, new to Italy. And how the Scala regulars were relishing in the opportunity to grumble and mutter “humbug” during the interval.

[prolific-polymath]

End of August to End of December Review 

It's been quiet here on the blog. I got out of practice of updating it regularly with what I've been up to. Like I said in my last blog post, big changes have taken place. 

I got a job as a software developer. 

This is such a big thing to happen to me as I didn't think I would be in this position until a few more years down the line. I get to work at Sauce Consulting Ltd. They are a great team of people who I am learning a lot from. I'm working on a great mobile app for Mood beam, which is a great first app to be working on. Despite the challenges, I'm loving what I have managed to do. I have surprised myself. 

The building we work in has so much going for it. 

Working at the C4Di. 

Sauce is based in the Centre for Digital Innovation. It houses other digital startups and hosts lots of events which I have been attending since being here.

Codepen Hull is a meetup for developers with talks by members of Hull's digital community. I am doing a talk on SVGs in React in January 2019. 

Design meetup is similar to codepen but for designers. The last one had a different format with a talk first followed by a workshop. Would like more of these in the new year. 

Hardware meetup is an informal meetup where people bring in their hardware projects that they have been working on. It's inspired me to start working with Arduinos and build robots for fun. 

I moved to Hull. 

So Sauce is based in Hull. I didn't have any strong views about Hull before moving. To everyone who thinks little of it, you might want to visit. THERE IS SO MUCH GOING ON HERE. Since becoming the city of culture in 2017, it's really embraced putting on a show.

Freedom Festival 

On the second weekend of being in Hull, Freedom Festival happened. Free arts festival with over acts performing all over the city.

See highlights here: https://vimeo.com/307846672

British Science festival 

Hull hosted the British Science Festival which meant there was plenty of cool events I was able to attend, including a free ticket to see The Deep.

Art shows 

There have been various art shows happening around the city at Humber Street Gallery, Form Shop, Paragon Arcade. I have yet to visit the Ferens Art Gallery.

Humber Mouth 

As part of Hull's annual literature festival, the library had Hull's premiere of Lily Cole's short film 'Balls' and even had a Q and A with the director and producer.

In October, I worked on a daily animated gif project, #Hallowtween2018, which featured Day of the Dead inspired skulls. The animations were then projected onto the windows of a shop called Form on Humber Street.

Hull Print Fair 

In November, Humber Street Gallery hosted Hull Print Fair which was a great chance to meet local artists selling their wares. I'm hoping to be able to sell my work as part of the event next year.

I Did a Tech Talk 

Something that has been encouraged at Sauce is for developers to share their knowledge on something already know or have been learning about. I volunteered to do a talk on SVGs and Animation in React Native as it would be useful for the app we are working on. My codepen talk will be a revised shorter version of this talk.

Make Noise 

Through investigating creatives in Hull, I discovered an organisation of young women who are trying to make music safer and more inclusive for women. I've attended a few of their workshops: Gig Poster making, Digital DJing and Guitar pedals. I'm looking to continue doing more of these in the new year as well as learn how to play electric guitar.

Hull at Christmas Time

Urban Legends 

Another cultural event to happen in Hull was the Urban Legends light shows that happened around the city.

See highlights here: https://vimeo.com/307847261

The Hull School of Art and Design had an open studio evening where you could meet with the artists currently studying there with their work on display. It was a good opportunity to meet new artists as well as conveniently bump into existing friends.

One of the last creative things I worked on this year was produce some wrapping paper for Sauce's Secret Santa. It was the first time I had been able to successfully print a lino cutting as an adult away from the education system. I'm planning on doing more linocuts in the New Year after the success of the wrapping paper.

That's it for now. I've got one more final blog post, listing all that I have achieved this year and what I expect from 2019.

[metinside2018]

November 2018

With One of classes we started working on the Arduino Uno boards. We built Three circuits and worked on them in groups. The students were very curious to see how the circuits worked and assembled them starting from pictures of the layout of the different configurations. So placing the components at the right place was not so difficult.

The students proved to be very good at working in groups and very clever at understanding new things and new procedures that they had  to face for the First Time .

All the circuits where assembled in less than 20 minutes with minimum intervention by the teacher

The students seemed to enjoy this activity very much and to draw great fun from working together. Some of them went on working on the circuits well after they were completed to make last adjustments and to improve the layout on the breadboards.

The students put 6 LEDs on the breadboards and connected them to the output pins numbered from 2 to 7. They inserted 6 resistors in series with the the diodes and then connected the ground output on the Arduino boards. Successively the boards will be programmed to lighten the LEDs all at the same time or in sequence one after another. Also a button will be added and the program will make the Arduino switch the LEDs on and off according to the actions on the button.

Especially the girls looked very keen on working on the circuits and demonstrated a high level of interest and commitment to the  activity. It must be remembered that in the sector of electronics a lot of workers are women. Some University graduate engineers are women too. They are especially suitable for the job because they are very accurate and precise and have small hands that are very good at manipulating tiny components.

  Some of students might decide in the future to take up engineering at university after this experience. Nobody can tell

    Class activities with Arduino Uno November 2018 With One of classes we started working on the Arduino Uno boards. We built Three circuits and worked on them in groups.