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DMS8013: Finished !

After coding the programmes in Arduino and Processing, the electronic colour organ finally finished!

Final look of the ECO:

Here is the annotation:It works like this:

DMS8013: Prototype 2.0

In order to solve the problem in version 1, I wired up power and ground with the breadboard and connected one end of the piezo to pin 13 on the Arduino and another to ground. Next, I connected one side of the first switch to power and another side to ground through a 10-kilohm resistor and I linked other six switches in the same way. Then, I connected the side which with the resistor of each switches to pin 12, 11, 10, 9, 8, 7, 6 respectively and labled each of them based on tones to make clear.

DMS8013: Prototype 1.0 – Not So Good

For this version, I wired up power and ground with the breadboard. Followed by connecting one end of the piezo to pin 7 on the Arduino and another to ground, I hooked up seven switches and resistors to become a ‘resistor ladder’ (Which is the arrangement of resistors and switches feeding into an analog input) and the switches are connected in parallel to analog in 0. Most of them connected to power through resistors respectively (I linked the first switch directly to power and connected the second, third, fourth, fifth, sixth and the last switches to power through a 220-ohm, 560-ohm, 1-kilohm, 4.7-kilohm, 10-kilohm and 1-megohm resistor respectively. Then linked all the buttons’ outputs together in one junction and connected this junction to analog in 0 through a 10-kilohm resistor). So that when button is pressed, a different voltage value will pass to the input pin.

However, this version of electronic organ is not so good – when button pressed, some tones were not match the pitches that I set since the resistors were not good-quality ones. Thus the Arduino could not read the accurate value and the colours in processing was not the colours that they were supposed to be.

So, I decide to give up using different value resistors to create a ‘resistor ladder’ to make various tones. Instead, I’m trying to let specific values go through each switches respectively to create accurate tones.

DMS8013: what’s Annotated Portfolios?

1. Annotated portfolios provide a way to present the fruits of design that simultaneously respect the particularity and multidimensionality of design work while meeting many of the demands of generalizable theory.


2. The Logic of Annotated Portfolios

functionality of the design (what should it do?) and by implication the value of certain activities (is this worth doing?)

aesthetics (what form and appearance should the artifact take?)

practicalities of its production (what materials, skills, and tools are needed to make it?)

motivation for making (why are we doing this? what are we trying to show?) the people for whom the artifact is intended (what will our users make of this? how can we best design for them?)

sociopolitical concerns (what sort of culture will this encourage or resist?)


3. An annotated portfolio, then, is a means for explicating design thinking that retains an intimate indexical connection with artifacts themselves while addressing broader concerns in the research community.


4. Useful annotations, then, tend to have a general application in the portfolio yet a specific sense for individual artifacts within it.


5. features of Annotated Portfolios

Annotations make a collection of designed artifacts into a portfolio. They bring together individual artifacts as a systematic body of work.

Annotations capture family resemblances between designs in a mesh of similarities and differences.

Typically a portfolio can be annotated in several different ways, reflecting different purposes and interests and with different audiences in mind.

Annotations and designs they annotate are mutually informing. Artifacts are illuminated by annotations. Annotations are illustrated by artifacts.





Annotated Portfolios by Bill Gaver, John Bowers



The work described here has not before been presented in Culture Lab. This is an example of minimal coding. This single line of C code:

main(t) { for (t = 0; ; t++) putchar(t*((15&t>>11)%12)&55-(t>>5|t>>12)|t*(t>>10)*32); }

when compiled produces looped output, which when interpreted as RAW audio gives a kind of minimal techno.

The code is generated using a bash script and compiled on the fly using the clang LLVM compiler.

FIN8010: Morse Code Workshop

Following on from the recent MFA/CAPs group show at the Old Low Light in North Shields I delivered a Morse Code Workshop for year five and six pupils from Redesdale Primary School, Wallsend on Friday 26th May. Pupils also made seagull models from milk cartons and gutted fish on the quayside.

Material Potential 17-03-10

The photograph shown below was taken by Tom Schofield. It shows two Telegraphic works which I presented at the Digital Cultures Research Group curated event Material Potential on the 10th March 2017. The first work is a meccano beacon, which uses a USB relay to flash Morse code messages; the second work is a command line recreation of a Wheatstone Cooke Five Needle Telegraph.

HSS8121: 7stories – chapbooks

Following on from the late shows I have uploaded for sharing images of my own collection of chapbooks. Some are reproductions of 19thC originals, others are my own design derived from the original form.


DMS8012: The Late Shows 17-05-20

I built an array of meccano controllers for this evening of live electronics. Pictures can be seen here:

In the words of Oscar Wilde “To expect the unexpected shows a thoroughly modern intellect.”. Unfortunately my thoroughly outdated intellect did not anticipate a darkened room and the performance suffered from the fact that I could not see to plug anything in. Fortunately I had a MIDI controller available which I could use instead.

Images of patches used in the performance are shown below.

The audio files linked below were created in rehearsal for the event.

I also presented an FM radio transmission work, an extended version of which will be presented in Culture lab on the evening of 30th May.

DMS8012: Victorian Synth

In response to seminar lead by Prof. J.M. Bowers where he demonstrated not only Victorian beard, but also Victorian Synth I spent an enjoyable afternoon at home constructing the same. I also experimented with relays and a 6v buzzer, but I did not inhale.

Pictorial evidence can be viewed here:
Victorian Synth.