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structures and their variations produce

Vera Molnar took a decidedly one of the first computer as an artistic medium. The concept of 'Machine Imaginaire', she developed further constructivism, as it deals with the aesthetic aspects of formal structures and their variations. Based on unconditional faith in the scheme of the art she operated with the help of computers for decades discovered research on the organization of the picture and here is that the beauty is a geometric composition outside the geometry.
Vera Molnar studied art history and aesthetics at the Academy in Budapest. Already at that time, she is particularly interested in the abstract, geometric-constructive Painting. After a residency in Rome in 1947 she goes to Paris, where she still lives today.

Vera Molnar Carrés 25 (25 squares)

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disorders

Beat Zoderer (born 1955) is regarded as a representative of the geometric-constructive art. Unlike many advocates of classical constructivism but he developed with imagination and wit its own, quite virtuosic variation in this area. At first glance Zoderer recalls his work on the formal vocabulary of Mondrian, van Doesburg, Rodchenko and Max Bill, but on closer examination reveals that it does not follow mathematical principles.
Zoderer not interested in the strict orthodoxy of autonomous art designs. Rather, he is fascinated by the idea to produce with ordinary things, orders that contain in their interior something profoundly disorderly.
from plastic pockets, file folders, pieces of wood, metal rods, cotton threads and tapes created by subtle combinations of bright-colored grid pattern images, serial stratification or elementary cube and cube
forms.



Supramat, Beat Zoderer, Mixed Media 2007

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type enter hyperspace

Conceptual artist Frank Richter has been working the 90 years the phenomenon of hyper space. With self-developed computer programs he designs four-, five-and sechsdimen-dimensional cube, challenge the perception and even overwhelming. In graphics, sculptures and installations are maintained according to the specification of mathematical rules of space configurations that go beyond the third dimension.

Frank Richter: 5d simple cube in red, blue, green and yellow

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Darius RIAA 2001

In this blog I would like to RIAA equalizer preamp, which I built in 2001 to present. By design, it fits with the built RL12T15 amplifiers.

As you see in the image on the left, this is perfect RIAA Pre semiconductor and built elkofrei. The tubes are all heated by alternating current, the operating DC voltage is generated with the EZ80 rectifier tube and smoothed with a filter network of MK capacitors, resistors and an inductor. For the input stage is a tube used, which has a special screening between control grid and the filament heating and bifilar is. It is the EF40 Rimlock tube, the amplified noise in the signal from the triode MM system and hum noise.
parallel to the inputs, there is a toggle switch for muting and before each of the input tubes RCA jacks on one end capacity can be plugged in at will. In the second stage amplifier with the ECC81 the RIAA equalization is made. I put it on a triode circuit design value, in which there are no current feedback and the influence of the slope [s] to avoid the circuitry. How to achieve this I would like to explain in more detail in the following. Here is the circuit of the RIAA in 2001


to avoid the current feedback Katodenbasisverstärkerstufen are the cathodes of the voltage amplifier directly to ground. (Item 9, and 17 m, n) The negative bias of one volt is the voltage drop across the 180Ω resistor (item 17 f) generated in the negative power supply line. The first stage of the EF40 (Item 10, m) is a linear voltage amplifier. The combination of g2 and anode, the EF40 as a triode work. How this affects electric, the following small signal equivalent circuit diagram for this stage:


The anode resistance (Item 13, m) is such that a highest possible Relationship between load resistance and internal resistance [ri] is the triode. This has a ri from the least to gain the point. This is important because the internal resistance depends on the steepness of the triode, ri = μ / s and in a good triode circuit design, the influence of the slope should be kept low. The output resistance of the first stage is measured at 1KHz 20 kOhm and the amount of voltage gain of 25 times, which are 28dB. The measured input capacitance [Cin] is 60pF. It results from the Miller capacitance [CM] and the voltage gain [BC] of the stage, Cin = CM x (lvul +1). By decoupling the high-impedance resistor (Item 15 o) has the following Stage have little effect on the voltage gain of the input stage, the input capacitance remains virtually independent of frequency. The second amplifier stage with the ECC81 following shows the small signal equivalent circuit of moderate:


The Katodenbasisstufe has a Katodenfolger they bootstrapt . The equivalent circuit of the power complex. However, since the boundary conditions, sheet 2 adhered to the left down, it can be back on the two operational amplifiers Triodenmodell back. The Bertag to the voltage gain [lvul] this stage depends on the ratio rg re so from the trio of Dene shank μ. lvul = 40, which are 32dB.
For active RIAA equalization needed actually produces a voltage amplifier of infinite times the voltage gain. This ideal operational amplifier is then adjusted with a frequency-dependent negative feedback so that gives the RIAA equalization.


Now this works with only two RIAA Tonabnehmerverstärker Triodenstufen and it seems at first impossible to meet this demand. In fact, this is possible just by the use of triodes with high accuracy. After Barkhausen
of the breakthrough can D = 1 / μ be seen mathematically as a voltage negative feedback. These voltage feedback I have shown in the two operational amplifiers Triodenmodell by resistors rg and re. The triode can thus be regarded as equivalent to an arrangement of two ideal operational amplifiers. It is possible to complete this two-OP-Triodenmodell and thus the triode with capacitors and resistors so that the RIAA is the transfer function. The following illustration shows how the RIAA in 2001 will be made:


marked with an asterisk * The components are responsible for the active RIAA equalization. The input stage is not included in the RIAA equalization, because a frequency-dependent "About Everything" negative feedback, the input capacitance would make. For the lowest frequencies is after a gain of 60dB RIAA required. The input stage provides 28dB of which provide the second stage still has 32dB gain. The open-loop gain of the second stage is ideally infinite, one has to this value with a galvanic negative feedback set accordingly. This determination is done in a triode circuit design solely on the resistance ratio of rg re / ie μ. So you have the triode for the "Fono Pre select accordingly. The ideal candidate for the second stage is, therefore, the ECC81 as a μ-follower which provides the required 32dB gain. Only the further weakening in line with the RIAA targets carried by the circuit elements in the local negative feedback path of the second stage with the ECC81.
May 10, 2008
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The big break

For his images used Horst Bartnig geometric elements he adds in complex systems . For images with squares and circles with the compositions follow-distorting Strukturen. Das Prinzip der Unterbrechung wurde schließlich grundlegend für eine große Gruppe von Arbeiten. Der in Ost-Berlin lebende und arbeitende Künstler entwickelt seine Kompositionen auf der Grundlage von mathematischen Systemen. Entsprechend der jeweiligen Maßgabe entstehen - häufig mit Hilfe des Computers - sowohl komplex durchwirkte Einzelbilder als auch Werkserien nach dem Prinzip von Thema und Variation.


Horst Bartnig,Unterbrechung

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Netzhammer

YVES NETZHAMMER Untitled Edition: 2 (Galerie Anita Beckers)

Zu Yves Netzhammers wichtigen Werken gehören Videoprojektionen und Rauminstallationen, in denen Landschaften simuliert werden. Es handelt sich dabei immer um am Computer errechnete surreale repetierende Filmsequenzen, die mit CAD-Programmen entwickelt worden sind. Die Oberflächen wirken glatt und künstlich. Die erzählten Geschichten sind surreal. Ntzhammer kombiniert Angenehmes mit Unangenehmes, Totes mit Lebendiges, das Tier mit dem Menschen und lässt die Objekte in einander fliessen oder von einem zum anderen übergehen. Frühere Werke sind Schwarz-Weiss-Strichzeichnen, die thematisch ähnlich aufgebaut sind, wie die Videoinstallationen. Er hat viele Strichzeichnungen aber auch perspektivisch verfälscht und mit optischen Täuschungen gearbeitet.

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In the spectrum of light

Untitled, 1958, Dynamic structure of black, white resin on canvas, 100 x 95.5 cm

Heinz Mack is a tireless experimenter in the spectrum of colored light. As a trained artist and philosopher, he has set the aesthetic laws of light and color, texture and form in a new context. World famous are his works of art of the moving light: How his work in the Zero group targeted the dematerialisation of art by light vibrations.