100SILEX, de 0 ŕ 100 s: proper
1391 LED Facts & How To Safely Use LEDS
LED facts, current requirements, voltage and resistor selection. How to properly use LEDs in your own projects. With color and power chart and full details.
diy led lamp, diy led light bulb, diy leds, homemade led light bulb, make a led light bulb, diy rv led lights, diy camper led lights, diy auto led light
1176 CommunityWiki: Tags Vs Mnemonics
This page argues that â€śtagsâ€ť as found in typical 2007 SocialBookmarking software should more properly called â€śmnemonics.â€ť
Then true â€śtagsâ€ť, tags that are assigned in efforts to identify EmergentStructure, are introduced, and differentiated from mnemonics.
1167 How to Solder an SMD LED | eHow.com
How to Solder an SMD LED. The small size of the SMD (Surface Mount Device) component and the confined workspace of the PCB (Printed Circuit Board) are the challenging parts of SMD soldering. The best approach is to obtain the proper equipment and to plan out the process, before you actually begin. Working with an LED (Light Emitting Diode) is no...
Visualizing.org is a community of creative people working to make sense of complex issues through data and designâ€¦ and itâ€™s a shared space and free resource to help you achieve this goal.
By some estimates, we now create more data each year than in the entirety of prior human history. Data visualization helps us approach, interpret, and extract knowledge from this information. Over the last couple of years, weâ€™ve seen government agencies, NGOs, and companies open up their data for the public to see and use. And weâ€™ve seen data visualization figure more prominently in design curricula, conference programs, and the media. We created Visualizing.org because we want to help connect the proliferation of public dataâ€¦ with a community that can help us understand this dataâ€¦ with the general public.
What is Visualizing.org? What can I do on the site?
Visualizing is a place to showcase your work, get feedback, ensure that your work is seen by lots of people and gets used by teachers, journalists, and conference organizers to help educate the public about various world issues
Visualizing is a free resource to search for data
Use Visualizing to keep up with and be inspired by the latest work from other designers and design schools
Learn about new visualization tools, blogs, books and other resources to help your work
Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share-Alike License
For teachers and schools:
Visualizing is a place to exhibit the collective work of your students, organize assignments and class projects, and help your students find data for their own visualizations
Weâ€™re working on new tools to help you share teaching material with other teachers
As an Academic Partner, your students are eligible to participate in various design competitions â€“ weâ€™re hosting the first Visualizing Marathon in New York in October
To learn more, contact Saira Jesani
For bloggers and journalists:
Visualizing is a resource to find data visualizations about a wide variety of world issues to inform and accompany your own reporting â€“ and itâ€™s easy to embed visualizations and widgets from Visualizing on your own site
For conference organizers:
As a Knowledge Partner, Visualizing allows you to use data visualizations at your conferences under a Creative Commons License
To learn more, contact Saira Jesani
Visualizing is a new and fun online resource to learn more about the world in all its complexity and inter-dependence -- and become more comfortable with data and how it can be visually represented
How does it work?
The site is open and free to use. Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share Alike License. Simply put, this means that anyone can share, copy, remix, or build upon the visualization as long as: (i) it is used non-commercially; and (ii) the visualizationâ€™s creator and source are credited.
616 Alphabet Soup modular synth
The STS Serge Modular can be a daunting system at first blush, especially for those who come from an "East Coast" modular synth background. My first synthesizers were Moog analogs and my first Analog Modular Synth was an Arrick "Dotcom" system - so I started out with East Coast paradigms that I had to "unlearn" in order to use my Serge Modular to the fullest. For those of you coming from a similar background or those just discovering the Serge Modular for the first time, these "Alphabet Soup" pages are dedicated to you!
The Serge Modular is intuitive and fun to use - especially when you realize the main difference between a Serge Modular and most others has to do with the size of the building blocks, where a Moog or similar modular will have monolithic building blocks like ADSRs and Oscillators, the Serge can be more "low-level" in that you can build ADSRs and oscillators from Serge modules or, more properly, Function Blocks.
These Function Blocks usually come bearing arcane names that have been shortened to an "Alphabet Soup" conglomeration of acronyms. In this series of articles, I'll be talking about some of the ways to approach these Function Blocks to create much more useful, surprising, complex or just simply fun synthesis features.
The first function block we're going to look at is the "DSG", otherwise known as the Dual Universal Slope Generator. This mild-mannered module is in some ways the most powerful one in the entire Serge catalog because it can become so many different things depending on where you place the patch cords...as you'll soon see.
533 The Theory and Technique of Electronic Music
Sinusoids, amplitude and frequency
Measures of Amplitude
Units of Amplitude
Synthesizing a sinusoid
About the Software Examples
Wavetables and samplers
The Wavetable Oscillator
Audio and control computations
The sampling theorem
Converting from audio signals to numeric control streams
Control streams in block diagrams
Audio signals as control
Operations on control streams
Control operations in Pd
Automation and voice management
Linear and Curved Amplitude Shapes
Continuous and discontinuous control changes
Encapsulation in Pd
Taxonomy of spectra
Multiplying audio signals
Frequency and phase modulation
Pulse trains via waveshaping
Pulse trains via wavetable stretching
Movable ring modulation
Phase-aligned formant (PAF) generator
Time shifts and delays
Time shifts and phase changes
Recirculating delay networks
Power conservation and complex delay networks
Variable and fractional shifts
Fidelity of interpolating delay lines
Taxonomy of filters
Low-pass and high-pass filters
Band-pass and stop-band filters
Elementary non-recirculating filter
Non-recirculating filter, second form
Elementary recirculating filter
Real outputs from complex filters
Two recirculating filters for the price of one
One-pole low-pass filter
One-pole, one-zero high-pass filter
Peaking and stop-band filter
Stretching the unit circle with rational functions
Butterworth band-pass filter
Impulse responses of recirculating filters
Single Sideband Modulation
Fourier analysis and resynthesis
Fourier analysis of periodic signals
Periodicity of the Fourier transform
Fourier transform as additive synthesis
Properties of Fourier transforms
Fourier transform of DC
Shifts and phase changes
Fourier transform of a sinusoid
Fourier analysis of non-periodic signals
Fourier analysis and reconstruction of audio signals
Timbre stamping (classical vocoder)
Phase relationships between channels
Symmetries and Fourier series
Sawtooth waves and symmetry
Dissecting classical waveforms
Fourier series of the elementary waveforms
Square and symmetric triangle waves
General (non-symmetric) triangle wave
Predicting and controlling foldover
Sneaky triangle waves
474 Why Intelligent People Fail
Why Intelligent People Fail
Content from Sternberg, R. (1994). In search of the human mind. New York: Harcourt Brace.
1. Lack of motivation. A talent is irrelevant if a person is not motivated to use it. Motivation may be external (for example, social approval) or internal (satisfaction from a job well-done, for instance). External sources tend to be transient, while internal sources tend to produce more consistent performance.
2. Lack of impulse control. Habitual impulsiveness gets in the way of optimal performance. Some people do not bring their full intellectual resources to bear on a problem but go with the first solution that pops into their heads.
3. Lack of perserverance and perseveration. Some people give up too easily, while others are unable to stop even when the quest will clearly be fruitless.
4. Using the wrong abilities. People may not be using the right abilities for the tasks in which they are engaged.
5. Inability to translate thought into action. Some people seem buried in thought. They have good ideas but rarely seem able to do anything about them.
6. Lack of product orientation. Some people seem more concerned about the process than the result of activity.
7. Inability to complete tasks. For some people nothing ever draws to a close. Perhaps itâ€™s fear of what they would do next or fear of becoming hopelessly enmeshed in detail.
8. Failure to initiate. Still others are unwilling or unable to initiate a project. It may be indecision or fear of commitment.
9. Fear of failure. People may not reach peak performance because they avoid the really important challenges in life.
10. Procrastination. Some people are unable to act without pressure. They may also look for little things to do in order to put off the big ones.
11. Misattribution of blame. Some people always blame themselves for even the slightest mishap. Some always blame others.
12. Excessive self-pity. Some people spend more time feeling sorry for themselves than expending the effort necessary to overcome the problem.
13. Excessive dependency. Some people expect others to do for them what they ought to be doing themselves.
14. Wallowing in personal difficulties. Some people let their personal difficulties interfere grossly with their work. During the course of life, one can expect some real joys and some real sorrows. Maintaining a proper perspective is often difficult.
15. Distractibility and lack of concentration. Even some very intelligent people have very short attention spans.
16. Spreading oneself too think or too thick. Undertaking too many activities may result in none being completed on time. Undertaking too few can also result in missed opportunities and reduced levels of accomplishment.
17. Inability to delay gratification. Some people reward themselves and are rewarded by others for finishing small tasks, while avoiding bigger tasks that would earn them larger rewards.
18. Inability to see the forest for the trees. Some people become obsessed with details and are either unwilling or unable to see or deal with the larger picture in the projects they undertake.
19. Lack of balance between critical, analytical thinking and creative, synthetic thinking. It is important for people to learn what kind of thinking is expected of them in each situation.
20. Too little or too much self-confidence. Lack of self-confidence can gnaw away at a personâ€™s ability to get things done and become a self-fulfilling prophecy. Conversely, individuals with too much self-confidence may not know when to admit they are wrong or in need of self-improvement.
440 A List Apart: Articles: Taking Advantage of HTML5 and CSS3 with Modernizr
Today, CSS-based layouts are commonplace and every browser has pretty solid support for them. But now we have CSS3 and HTML5, and the situation is repeating itselfâ€”different browsers demonstrate varying levels of support for these new technologies. Weâ€™ve smartened up, however, and no longer employ CSS hacks nor use browser sniffingâ€”an unreliable, poor practice. Weâ€™ve also convinced more and more clients that websites donâ€™t need to look exactly the same in every browser. So how do we deal with this new but familiar problem? Simple: We use feature detection, which means that we do not ask the browser â€śwho are you?â€ť and make unreliable assumptions from there on. Instead we ask the browser, â€ścan you do this and that?â€ť Itâ€™s a simple way to test browser capabilities, but doing all these tests manually all the time gets tiresome. To solve that problem (and others), you can use Modernizr.
428 Alain Neffe and the Home-Taped Electronic Music Revolution
Alain Neffe launched his first tape label at home in Belgium in 1981. He called it Insane Music Contact and his first installment was called Insane Music for Insane People. Thus began a nearly thirty year foray into home-made, visionary and utterly unfashionable electronic music that has hardly made anyone involved a household name.
Insane Music released 55 titles in its most prolific years (1981-87). Five of these were vinyl records and the rest were cassettes tapes. Why cassettes tapes? Magnetic tape was the obvious solution to the problem facing many artists working without record contracts in those days. Cassettes could be recorded at home, produced at home, dubbed at home, and sold or traded by mail. No need for tasteless outside producers and marketing mojoâ€”one needed only leave home to buy more tapes. Says Neffe, â€śI could copy the tapes on demand. Releasing an LP required that you print 500 copies and 1000 copies of the cover sleeve, and everything had to be paid up front â€¦ if the buyer didnâ€™t like the music, he or she could wipe it out and record something else on it.â€ť
Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wankingâ€”that coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugsâ€™ A Safe Substitute and Colin Potterâ€™s The Ghost Office. In Japan, 1980 saw the release of Merzbowâ€™s first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâ€™s Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands.
Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message.
Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes.
Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffeâ€™s own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffeâ€™s artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousnessâ€“not even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates.
For this retrospective (4 LPs + a 7â€ť 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French.
BeNe GeSSeRiT was not the first of Mr. Neffeâ€™s projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as â€śtextsâ€ť or â€śphotographsâ€ť, or as he puts it, â€śpotlatch musicâ€ť. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the textâ€™s subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Ă‰tant DonnĂ©s, or Nurse with Wound in the UK.
Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track â€śLangsamâ€ť is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track â€śSons of God?â€ť is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera.
The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectorsâ€™ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Musicâ€™s CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
210 What is your most productive shortcut with Vim? - Stack Overflow
I've heard a lot about Vim, both pros and cons. It really seems you should be (as a developer) faster with Vim than with any other editor. I'm using Vim to do some basic stuff and I'm at best 10 times less productive with Vim.
The only two things you should care about when you talk about speed (you may not care enough about them, but you should) are:
Using alternatively left and right hands is the fastest way to use the keyboard.
Never touching the mouse is the second way to be as fast as possible. It takes ages for you to move your hand, grab the mouse, move it, and bring it back to the keyboard (and you often have to look at the keyboard to be sure you returned your hand properly to the right place)
Here are two examples demonstrating why I'm far less productive with Vim.
89 Top 20+ MySQL Best Practices
Database operations often tend to be the main bottleneck for most web applications today. It's not only the DBA's (database administrators) that have to worry about these performance issues. We as programmers need to do our part by structuring tables properly, writing optimized queries and better code. Here are some MySQL optimization techniques for programmers.
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