Electronics And Instrumentation Quotes

At this moment, in this place, the shifting action potential in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper. At another time, in another place, light strikes the marks, reflects into a pair of high-precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up the optic nerves, cross the chiasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts. The entire system seems fragile, preposterous, science fictional.

All molecules pulse with vibrations. They shimmer and wiggle and sing with the vibrations of the electron strings that hold them together, which means molecules are, oddly enough, a sort of musical instrument.

Each day, the moon’s gravitational field tugs at the earth as it rotates underneath. At CERN, this tiny stress caused the total length of the LEP tunnel to stretch and contract by about a millimeter (one-twenty-fifth of an inch) every day. Not such a big deal in a seventeen-mile-long beam pipe, but enough to cause a tiny fluctuation in the energy of the electrons and positrons—one that was easily detectable by the high-precision instruments. After some initial puzzlement at the daily energy variations, the CERN physicists quickly figured out what was going on.

things were created by God and for God, no exceptions. Every note of music. Every color on the palette. Every flavor that tingles the taste buds. Arnold Summerfield, the German physicist and pianist, observed that a single hydrogen atom, which emits one hundred frequencies, is more musical than a grand piano, which only emits eighty-eight frequencies. Every single atom is a unique expression of God’s creative genius. And that means every atom is a unique expression of worship. According to composer Leonard Bernstein, the best translation of Genesis 1:3 and several other verses in Genesis 1 is not “and God said.” He believed a better translation is “and God sang.” The Almighty sang every atom into existence, and every atom echoes that original melody sung in three-part harmony by the Father, Son, and Holy Spirit. Did you know that the electron shell of the carbon atom produces the same harmonic scale as the Gregorian chant? Or that whale songs can travel thousands of miles underwater? Or that meadowlarks have a range of three hundred notes? But the songs we can hear audibly are only one instrument in the symphony orchestra called creation. Research in the field of bioacoustics has revealed that we are surrounded by millions of ultrasonic songs. Supersensitive sound instruments have discovered that even earthworms make faint staccato sounds! Lewis Thomas put it this way: “If we had better hearing, and could discern the descants [singing] of sea birds, the rhythmic tympani [drumming] of schools of mollusks, or even the distant harmonics of midges [flies] hanging over meadows in the sun, the combined sound might lift us off our feet.” Someday the sound will lift us off our feet. Glorified eardrums will reveal millions of songs previously inaudible to the human ear.

So far as we’ve worked out it’s not the electronics, refrigeration system, instrumentation, or temperature. I’m sure it’ll turn out to be a little hole somewhere, then NASA will have four hours of meetings before telling me to cover it with duct tape.

The eyes have been used to signify a perverse capacity - honed to perfection in the history of science tied to militarism, capitalism, colonialism, and male supremacy - to distance the knowing subject from everybody and everything in the interests of unfettered power. The instruments of visualization in multinationalist, postmodernist culture have compounded these meanings of dis-embodiment. The visualizing technologies are without apparent limit; the eye of any ordinary primate like us can be endlessly enhanced by sonography systems, magnetic resonance imaging, artificial intelligence-linked graphic manipulation systems, scanning electron microscopes, computer-aided tomography scanners, colour enhancement techniques, satellite surveillance systems, home and office VDTs, cameras for every purpose from filming the mucous membrane lining the gut cavity of a marine worm living in the vent gases on a fault between continental plates to mapping a planetary hemisphere elsewhere in the solar system. Vision in this technological feast becomes unregulated gluttony; all perspective gives way to infinitely mobile vision, which no longer seems just mythically about the god-trick of seeing everything from nowhere, but to have put the myth into ordinary practice. And like the god-trick, this eye fucks the world to make techno-monsters. Zoe Sofoulis (1988) calls this the cannibal-eye of masculinist extra-terrestrial projects for excremental second birthing.

Finally, in 1926, Heisenberg came up with a celebrated compromise, producing a new discipline that came to be known as quantum mechanics. At the heart of it was Heisenberg's Uncertainty Principle, which states that the electron is a particle but a particle that can be described in terms of waves. The uncertainty around which the theory is built is that we can know the path an electron takes as it moves through a space or we can know where it is at a given instant, but we cannot know both.*22 Any attempt to measure one will unavoidably disturb the other. This isn't a matter of simply needing more precise instruments; it is an immutable property of the universe.

The transition from subject to observer was instantaneous, sensations, sights, and sounds changing from instruments of torment to a fascinating display of electronic signals. The spectra included thousands of frequencies, visual, audio and psi bands alike, each customized for a specific effect, a pseudo symphony for an audience of one.

From the pocket of her windbreaker he extracted what he falsely believed to be a portable marine radio, which along with two granola bars he'd pilfered from Honey's belongings after she was snatched by the club-handed lunatic. Shreave started pressing buttons on the compact gadget and barking, "Mayday! Mayday! There was no response from the Coast Guard pilot or any other human, and for a good reason. Except for its LED screen, the instrument in Shreave's possession was electronically dissimilar to a radio in all significant respects. Most crucial was the absence of either an audio receiver or a transmitter. "SOS! SOS!" he persisted. "Help!" The device was in fact a mobile GPS unit, as technogically impenetrable to Shreave as the Taser gun he'd found beneath Honey's bed.

It turned out that I really liked the music Lieke played. Techno, apparently. Which was remarkable, as I normally hated electronic music. Well, I had liked ‘Good Vibrations’ by the Beach Boys in my younger years, and that had contained a theremin, and that is technically an electronic instrument. But you know what I mean. Music that sounds like a robot having a panic attack. Bleep-bleep music. But it turned out I had been missing out.

For example, Bohm believes an electron is not one thing but a totality or ensemble enfolded throughout the whole of space. When an instrument detects the presence of a single electron it is simply because one aspect of the electron's ensemble has unfolded, similar to the way an ink drop unfolds out of the glycerine, at that particular location. When an electron appears to be moving it is due to a continuous series of such unfoldments and enfoldments.

Every act of communication is a miracle of translation. At this moment, in this place, the shifting action potentials in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper. At another time, in another place, light strikes the marks, reflects into a pair of high precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up optic nerves, cross the chasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts. The entire system seems fragile, preposterous, science fictional. Who can say if the thoughts you have in your mind as you read these words are the same thoughts I had in my mind as I typed them? We are different, you and I, and the qualia of our consciousnesses are as divergent as two stars at the ends of the universe. And yet, whatever has been lost in translation in the long journey of my thoughts through the maze of civilization to your mind, I think you do understand me, and you think you do understand me. Our minds managed to touch, if but briefly and imperfectly.

The message of the rebel is disturbing because of the consequences of the truth he or she speaks. To accept that Barack Obama is, as Cornel West says, "a black mascot for Wall Street" means having to challenge some frightening monoliths of power and give up the comfortable illusion that the Democratic Party or liberal institutions or a single elected official can be instruments for genuine reform. To accept that nearly all forms of electronic communications are captured and stored by the government is to give up the illusion of freedom.

Shadow is the blue patch where the light doesn’t hit. It is mystery itself, and mystery is the ancients’ ultima Thule, the modern explorer’s Point of Relative Inaccessibility, that boreal point most distant from all known lands. There the twin oceans of beauty and horror meet. The great glaciers are calving. Ice that sifted to earth as snow in the time of Christ shears from the pack with a roar and crumbles to water. It could be that our instruments have not looked deeply enough. The RNA deep in the mantis’s jaw is a beautiful ribbon. Did the crawling Polyphemus moth have in its watery heart one cell, and in that cell one special molecule, and that molecule one hydrogen atom, and round that atom’s nucleus one wild, distant electron that split showed a forest, swaying?

Had your spacecraft flown by the Earth a hundred million years ago, in the age of the dinosaurs when there were no humans and no technology, you would still have seen oxygen and ozone, the chlorophyll pigment, and far too much methane. At present, though, your instruments are finding signs not just of life, but of high technology—something that couldn’t possibly have been detected even a hundred years ago: You are detecting a particular kind of radio wave emanating from Earth. Radio waves don’t necessarily signify life and intelligence. Many natural processes generate them. You’ve already found radio emissions from other, apparently uninhabited worlds—generated by electrons trapped in the strong magnetic fields of planets, by chaotic motions at the shock front that separates these magnetic fields from the interplanetary magnetic field, and by lightning.

Music of the Grid: A Poem in Two Equations _________________________ The masses of particles sound the frequencies with which space vibrates, when played. This Music of the Grid betters the old mystic mainstay, "Music of the Spheres," both in fantasy and in realism. LET US COMBINE Einstein's second law m=E/C^2 (1) with another fundamental equation, the Planck-Einstein-Schrodinger formula E = hv The Planck-Einstein-Schrodinger formula relates the energy E of a quantum-mechanical state to the frequency v at which its wave function vibrates. Here h is Planck's constant. Planck introduced it in his revolutionary hypothesis (1899) that launched quantum theory: that atoms emit or absorb light of frequency v only in packets of energy E = hv. Einstein went a big step further with his photon hypothesis (1905): that light of frequency v is always organized into packets with energy E = hv. Finally Schrodinger made it the basis of his basic equation for wave functions-the Schrodinger equation (1926). This gave birth to the modern, universal interpretation: the wave function of any state with energy E vibrates at a frequency v given by v = E/h. By combining Einstein with Schrodinger we arrive at a marvelous bit of poetry: (*) v = mc^2/h (*) The ancients had a concept called "Music of the Spheres" that inspired many scientists (notably Johannes Kepler) and even more mystics. Because periodic motion (vibration) of musical instruments causes their sustained tones, the idea goes, the periodic motions of the planets, as they fulfill their orbits, must be accompanied by a sort of music. Though picturesque and soundscape-esque, this inspiring anticipation of multimedia never became a very precise or fruitful scientific idea. It was never more than a vague metaphor, so it remains shrouded in equation marks: "Music of the Spheres." Our equation (*) is a more fantastic yet more realistic embodiment of the same inspiration. Rather than plucking a string, blowing through a reed, banging on a drumhead, or clanging a gong, we play the instrument that is empty space by plunking down different combinations of quarks, gluons, electrons, photons,... (that is, the Bits that represent these Its) and let them settle until they reach equilibrium with the spontaneous activity of Grid. Neither planets nor any material constructions compromise the pure ideality of our instrument. It settles into one of its possible vibratory motions, with different frequencies v, depending on how we do the plunking, and with what. These vibrations represent particles of different mass m, according to (*). The masses of particles sound the Music of the Grid.

More than anything, we have lost the cultural customs and traditions that bring extended families together, linking adults and children in caring relationships, that give the adult friends of parents a place in their children's lives. It is the role of culture to cultivate connections between the dependent and the dependable and to prevent attachment voids from occurring. Among the many reasons that culture is failing us, two bear mentioning. The first is the jarringly rapid rate of change in twentieth-century industrial societies. It requires time to develop customs and traditions that serve attachment needs, hundreds of years to create a working culture that serves a particular social and geographical environment. Our society has been changing much too rapidly for culture to evolve accordingly. There is now more change in a decade than previously in a century. When circumstances change more quickly than our culture can adapt to, customs and traditions disintegrate. It is not surprising that today's culture is failing its traditional function of supporting adult-child attachments. Part of the rapid change has been the electronic transmission of culture, allowing commercially blended and packaged culture to be broadcast into our homes and into the very minds of our children. Instant culture has replaced what used to be passed down through custom and tradition and from one generation to another. “Almost every day I find myself fighting the bubble-gum culture my children are exposed to,” said a frustrated father interviewed for this book. Not only is the content often alien to the culture of the parents but the process of transmission has taken grandparents out of the loop and made them seem sadly out of touch. Games, too, have become electronic. They have always been an instrument of culture to connect people to people, especially children to adults. Now games have become a solitary activity, watched in parallel on television sports-casts or engaged in in isolation on the computer. The most significant change in recent times has been the technology of communication — first the phone and then the Internet through e-mail and instant messaging. We are enamored of communication technology without being aware that one of its primary functions is to facilitate attachments. We have unwittingly put it into the hands of children who, of course, are using it to connect with their peers. Because of their strong attachment needs, the contact is highly addictive, often becoming a major preoccupation. Our culture has not been able to evolve the customs and traditions to contain this development, and so again we are all left to our own devices. This wonderful new technology would be a powerfully positive instrument if used to facilitate child-adult connections — as it does, for example, when it enables easy communication between students living away from home, and their parents. Left unchecked, it promotes peer orientation.

..reincarnation is a truth, because in existence nothing dies. Even the physicist will say, about the objective world, that nothing dies. You can destroy Hiroshima and Nagasaki but you cannot destroy a single drop of water. You cannot destroy. Physicists have become aware of this impossibility. Whatever you do, only the form changes. But nothing can be destroyed in the objective world. The same is true about the world of consciousness, of life. There is no death. Death is only a change from one form into another form, and ultimately from form to formlessness. Only Gautam Buddha has given the right word for this experience. In English it is difficult to translate it, because languages develop only after experience. It is just arbitrarily that I am calling it "enlightenment." But it is very arbitrary; it does not really give you the sense that Buddha's word gives. He calls it nirvana. Nirvana means ceasing to be. Strange... ceasing to be. Not to be is nirvana. That does not mean that you are no more; it simply means you are no longer an entity, embodied. The dewdrop drops into the ocean. Now it is the whole ocean. Existence is alive at every stage. Nothing is dead. Even a stone - which you think seems to be completely dead - is not dead. So many living electrons are running so fast inside it that you cannot see them, but they are all living beings. Their bodies are so small that nobody has seen them; we don't even have any scientific instrument to see the electron, it is only guesswork. We can see the effect; hence we think there must be a cause. The cause has not been seen, only the effect has been seen. But the electron is as alive as you are. The whole existence is synonymous with life. Here nothing dies. Death is an impossibility. Yes, things change from one form to another form till they become mature enough that they need not go to school again. Then they move into a formless life, then they become one with the ocean itself.

To a theoretician, all these criticisms are troublesome but not fatal. But what does cause problems for a theoretician is that the model seems to predict a multiverse of parallel universes, many of which are crazier than those in the imagination of a Hollywood scriptwriter. String theory has an infinite number of solutions, each describing a perfectly well-behaved finite theory of gravity, which do not resemble our universe at all. In many of these parallel universes, the proton is not stable, so it would decay into a vast cloud of electrons and neutrinos. In these universes, complex matter as we know it (atoms and molecules) cannot exist. They only consist of a gas of subatomic particles. (Some might argue that these alternate universes are only mathematical possibilities and are not real. But the problem is that the theory lacks predictive power, since it cannot tell you which of these alternate universes is the real one.) This problem is actually not unique to string theory. For example, how many solutions are there to Newton’s or Maxwell’s equations? There are an infinite number, depending on what you are studying. If you start with a light bulb or a laser and you solve Maxwell’s equations, you find a unique solution for each instrument. So Maxwell’s or Newton’s theories also have an infinite number of solutions, depending on the initial conditions—that is, the situation you start with. This problem is likely to exist for any theory of everything. Any theory of everything will have an infinite number of solutions depending on the initial conditions. But how do you determine the initial conditions of the entire universe? This means you have to input the conditions of the Big Bang from the outside, by hand. To many physicists this seems like cheating. Ideally, you want the theory itself to tell you the conditions that gave rise to the Big Bang. You want the theory to tell you everything, including the temperature, density, and composition of the original Big Bang. A theory of everything should somehow contain its own initial conditions, all by itself. In other words, you want a unique prediction for the beginning of the universe. So string theory has an embarrassment of riches. Can it predict our universe? Yes. That is a sensational claim, the goal of physicists for almost a century. But can it predict just one universe? Probably not. This is called the landscape problem. There are several possible solutions to this problem, none of them widely accepted. The first is the anthropic principle, which says that our universe is special because we, as conscious beings, are here to discuss this question in the first place. In other words, there might be an infinite number of universes, but our universe is the one that has the conditions that make intelligent life possible. The initial conditions of the Big Bang are fixed at the beginning of time so that intelligent life can exist today. The other universes might have no conscious life in them.

Turing showed that just as the uncertainties of physics stem from using electrons and photons to measure themselves, the limitations of computers stem from recursive self-reference. Just as quantum theory fell into self-referential loops of uncertainty because it measured atoms and electrons using instruments composed of atoms and electrons, computer logic could not escape self-referential loops as its own logical structures informed its own algorithms.12

A good way to understand the uncertainty principle is to consider a wave where we have complete certainty in its frequency, like a pure tone. Now, I ask you, where is the wave? The wave with its many periodic oscillations is distributed across a very large distance, meaning that a wave of definite frequency will have an arbitrary position. Now let's consider a traveling wave pulse, which only exists for a short duration of time, like a beat. I can localize where the pulse is, but its frequency is not well defined because its frequency is not well defined because a frequency requires many repeating cycles, and a pulse does not have enough width to define a definite frequency. This is Heisenberg's uncertainty principle: it says that the more you can know about the position, the less you can know about its frequency, and vice versa. But we just learned that the frequency is proportional to the momentum, so the more one knows about the momentum of a particle, the less one knows about its position, and vice versa. This is incredibly profound. When scientists want to understand nature, they use instruments to probe and measure it. What the uncertainty principle tells us is that no matter how careful we are, no matter how precise our instrumentation, we can never pin down both the particle-like and the wave-like properties of a quantum entity, whether it be a photon or an electron, a quark or a neutrino. The uncertainty principle is a statement that is fundamental to nature, to the universe, whether we are there to measure it or not.

During World War II the top secret “Norden XV” or “Blue Ox” otherwise known the Army Airforce’s “Norden M Series Bombsights,” were used up to and including the Vietnam War by all American military aircraft with bomb carrying capabilities. This bombsight was considered a “Canonical Tachometric Design” meaning that it had the ability to measure the aircraft's direction and ground speed. In time the Norden improved its original design by using a computer that constantly calculated the aircraft’s flight characteristic and external wind forces to determine the bomb's impact point. When the B-17 Flying Fortress was designed, it came equipped with a Sperry A-3 Autopilot that only corrected angular deviations in the aircraft’s straight and level course. In time most bombsights were replaced by video displays on the instrument panel. Dumb or gravity bombs were mostly replaced with in-flight guidance bombs, such as laser-guided bombs or those using a GPS system. The last combat use of the Norden bombsight was by the US Navy during the covert “Operation Igloo White” mission when OP-2E Neptune aircraft dropped electronic sensors to detect enemy activity along the Ho Chi Minh Trail. Project CHECO Southeast Asia Report was declassified on May 5, 2013.

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There was a summer-long gap between me and all the stuff that was supposed to happen next; I now saw, nested within that gap, possibilities without number. Infinite futures. I am a musician on a stage somewhere, my instrument singing in tones so universal that the masses howl their accord in places near and far. Reseda, New York, Japan; or else I escape through a bedroom window three minutes from now and careen through the streets, crazed, lost, locked inside the person in whose image I have remade myself; or I am no one, driving a delivery van carrying boxes of electronics from nowhere to no place, the road empty before me by day, shared by headless headlights after dark, beams increasing briefly and then gone, beyond, somewhere off in the cross-traffic, catchable in the rearview if I dare. I thrive. I fail to thrive. I fall. I rise. Too many. Too late. Not that, not those, not these: this.

Setting Up Your Body, Mind, and Environment Preparing your body, mind, and space is a critical step on your channeling path. Preparation in each of these areas will support your clear channeling. Channeling in a chaotic place with a toxic body and cluttered mind makes channeling more challenging because the instrument you are using is taxed or strained. Empowering Your Body Empowering your body includes being aware of what you put into your body and how you move it. I invite you to become aware of your body’s milieu if you are not already. What do you eat and drink? What products do you put on your body? Is your body tolerating electronic device exposure, such as from the amount of time you use your phone and computer? Are these empowering your body to function optimally? Use your intuition to be impeccable with what you put into your body. Apply the discerning method I described in chapter 9 to learn about each of these things. For example, ask your body what it needs to nourish it most appropriately before eating or drinking. Expect that you will get an answer. Be still and listen. What is your body telling you? You may find that the answers you receive about what your body needs change day by day and over time. Sometimes your body needs more protein. Sometimes your body needs electrolytes and minerals, which channeling can deplete. You may also notice that your body needs more water when you channel more often. Sometimes you need more nature time with movement. Sometimes you may need to be still and silent. You can do this discernment process for anything you put in or on your body and for how you move your body. It might feel strange to do this at first, but you’ll find that it becomes second nature with practice. You might notice that when you channel, you don’t feel so great the next day. You might feel tired, be sore, or have other unusual physical or mental symptoms. Feeling lousy the next day doesn’t mean that channeling hurt you. Usually, these symptoms are channeling revealing “stuff” you can clear. Channeling can act as a detoxifier. If you experience this, you can support your detoxification pathways. Rest. Drink lots of water. Take an Epsom salt bath. Take more minerals and eat nutrient-rich foods. Gentle movement, stretching, or yoga can support your body. Ask your body what it needs. All these steps to empower your body will strengthen your channeling and your life in general.

By 1982, the synth had become so pervasive that it became the subject of a dispute initiated by the central London branch of the Musicians’ Union. When Barry Manilow toured the UK in January, he used synths to simulate the orchestral sounds of a big band, after which the union passed a motion to ban the use of synths, drum machines and any electronic devices ‘capable of recreating the sounds of conventional musical instruments’. They were particularly concerned about the possible effect on West End theatrical productions, imagining orchestra pits full of ‘technicians’ instead of musicians.

With the sales to high-profile buyers, Bob was ready to make a serious go of his modular systems. In the January 1965 AES Journal he placed an ad: R. A. MOOG announces the availability of ELECTRONIC INSTRUMENTS FOR THE COMPOSITION AND PERFORMANCE OF CONTEMPORARY MUSIC.

At the seminar, participants also tried to come up with a name for Bob’s system. Somehow, Electronic Instruments for the Composition and Performance of Contemporary Music—the wording in the January AES ad—didn’t roll trippingly off the tongue. Nikolais’ “Moogaphone” wasn’t much better. The best the participants could come up with was “Goombars”—a jumbling of the letters of R. A. Moog with the “b” from Bob—but it was voted down.

They had to ring a bell to be buzzed in to the main showroom, where a faded violet couch sat against one wall, a beat-up coffee table covered with magazines in front of it. Instruments hung from everywhere, including the ceiling: violins, violas, and cellos shone with a gorgeous luster like nothing he’d ever seen. These were the instruments of princes and kings, the violins for the best violinists in the world. On the counter rested an old-fashioned cash register. No electronics, no card reader. Behind the counter, a staircase carpeted in red damask led up into darkness. On one side of the steps hung an

Quarks and Waves. The biggest is equally distant from nothingness as the smallest is. There is equidistance from nothingness to the biggest and the smallest. If we look at an electron, it appears to be a particle and a wave. The notion of a particle as a wave comes from the fact that we cannot measure its position simultaneously when we measure its momentum (velocity). This is Heisenberg’s uncertainty principle. If we look at a particle, it is a particle; when we do not look at it, it is a wave. The sheer identification of the particle at the moment we look at it does not mean that we, or instruments, changed its nature but just identified it as such. It is not identified and appears to be a wave when we do not look at it. On this level, being a particle or a wave almost does not make a difference because this is “near” the “point” or “near” the passage from the Ultimate Immaterial Reality to our sensory reality. These are the passages from one sphere into another. At this level of infinitesimal values that instruments cannot even register, we face a wavelike particle behavior moving at an extreme speed. This feature (or what appeared to be a feature to our senses) of a particle may result from its almost infinitesimal size rather than its intrinsic value. To be more precise, a particle's inherent value is independent of our ability to perceive, measure, or comprehend it. We may grasp it to some extent or point, but its intrinsic value may still be beyond our ability and the ability of the technology or instruments we rely on.

There was a single upright metal plate, wired to the grid of an enormous vacuum tube. Several smaller tubes behind the detector tube made the instrument more sensitive. "It works," explained Gerry, "like an electric variable condenser --" "But I say, it has only one wall. Surely all condensers have two." "Exactly. Only in this case the second wall is formed by any metallic body which comes within a certain range. When I switch on the current, there'll be a perfect electronic balance in the vacuum-tube set-up. It will be upset by the approach of any metal, which naturally changes the capacity. Any such change is registered on the dial here, and rings an alarm bell." "Very ingenious," drawled Michaels. "Especially for Venus, which is poor in metals. Don't worry, Miss Carlyle; we'll find Mr. Strike all right. That's a pretty tough lad to hurt.

What I have said makes it appear that this process of improvement by internal replacement applies to the technology as a whole. But by our recursion principle, it applies to all constituent parts of the technology as well: a technology improves as better subparts and sub-subparts are swapped into its assemblies and subassemblies. This means we need to think of a technology as an object-more an organism, really-that develops through its constituent parts and subparts improving simultaneously at all levels in its hierarchy. And there is something else. A technology developls not just by the direct efforts applied to it. Many of a technology's parts are shared by other technologies, so a great deal of development happens automatically as components improve in other uses "outside" that technology. For decades, aircraft instruments and control mechanism benefited from outside progress in electronic components. A technology piggybacks on the external development of its components.

e=mc^2. I know. I promised there would be no equations and, except for a few footnotes, I've kept my promise. But I think you will forgive me for making an exception for the world's most famous equation-the only equation to have its biography written. And the thing is this: e = mc^2 pops right out of QFT. Einstein had to work hard to find it (it was published in a separate paper that followed his breakthrough paper on relativity theory in 1905), but in QFT it appears as an almost trivial consequence of the two previous results. Since both mass and energy are associated with oscillations in the field, it doesn't take an Einstein to see that there must be a relationship between the two. Any schoolboy can combine the two equations and find (big drum roll, please) e = mc^2. Not only does the equation tumble right out of QFT, its meaning is seen in the oscillations or "shimmer" of the fields. Frank Wilczek calls these oscillations "a marvelous bit of poetry" that create a "Music of the Grid" (Wilczek's term for space seen as a lattice of points): Rather than plucking a string, blowing through a reed, banging on a drumhead, or clanging a gong, we play the instrument that is empty space by plunking down different combinations of quarks, gluons, electrons, photons,...and let them settle until they reach equilibrium with the spontaneous activity of Grid...These vibrations represent particles of different mass m...The masses of particles sound the Music of the Grid. ----- Frank Wilczek

Right now, We are living in perhaps the most exciting time in history to buy, own or play that eternal instruments, The piano Cover. What is your goal is to purchase something as small as software that can record what you want to play, a newly designed player piano, a digital machine or a classic phonetic model, there have never been as many options for the trencherman. Player Pianos Also called reproducing pianos. this class of instrument describe a modern update on the paper-outcry player pianos you keep in mind from old movies, and they have grown enormously in popularity over the final decennial. These are not digital instruments they are real, philological pianos with hammers and rope that can be played generally. but they can also start themselves. using filthy electronic technology. Instead of shove paper, they take their hint from lethargic disks, specially formatted CDs or internal memory systems. different manufacturers offer vast sanctum of pre-recorded titles for their systems. music in every genre from pop to the classics filed by some of the earth’s top pianists. These sophisticated systems arrest every nuance of the original performances and play them back with dramatic accuracy providing something that’s actually so much better than CD fidelity because the activities are live. Watch my new cover : Dancing on my own piano Thanks to these new systems, many people who do not play the piano are enjoying live piano music at any time of at morning, night and day. How many they are concurrent dinners for two or entertaining a houseful of partygoers, these high-tech pianos take centre period. For people who do play the piano, these systems can be used to record their own piano deeds, Interface by- Computers, aid in music education, assist with composing and many other applications. In short, these modern marvels aren’t your grandfather's’ player pianos! If you want to learn see the video first : Dancing on my own piano cover

The E-Meter, short for “electropsychometer,” is an “electronic instrument that measures mental state and change of state in individuals,” according to the church. During the process, the preclear, or PC (person getting the auditing), is asked a set of questions or given directions as he holds on to two empty “cans” hooked up to the meter. It is believed that the thoughts in a person’s mind affect the flow of energy between the cans and cause the needle on the dial to move.

problem with age and grade equivalent scores is that instruments will vary in the scoring. One publisher’s test could give a child a sixth grade, eighth month score (6.8), and another publisher’s instrument could result in a score of 7.1. Although the two scores may be related to small differences between the instruments, consumers of the scores may have very different interpretations of scores that are really not all that discrepant. Another problem with age or grade equivalent scores is that teachers or administrators may expect all students to perform at or above their respective age or grade level. For example, teachers have been reprimanded because students have had scores below grade level. These misconceptions fail to take into account that the instruments are norm-referenced; thus, the expectations are that 50% of the students will fall above the appropriate age or grade score and 50% will fall below this score. Therefore, in most classrooms, expecting all students to fall above the mean is unrealistic as well as inappropriate given norm-referenced testing. 36 Section I Principles of Assessment Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial

There were tiny flecks of opacity—minihalos—against the black background. “Good, I think we have some,” she said. “Now we’re ready.” She pulled out an electronic module from an instrument attached to the large copper cryogenic tank. It was a bolometer, she told him, germanium crystals combined with an ultrasensitive thermometer, linked to a microprocessor. She placed the petri dish on the germanium plate, pushed the module back in and manned the workstation. The screen came alive with dense plots of red and green dots. “What do you see?” he asked. She didn’t look up. “Nothing yet! I need to do more calibrations.” “Sorry …

Curbing the financial sector. Since so much of the increase in inequality is associated with the excesses of the financial sector, it is a natural place to begin a reform program. Dodd-Frank is a start, but only a start. Here are six further reforms that are urgent: (a) Curb excessive risk taking and the too-big-to-fail and too-interconnected-to-fail financial institutions; they’re a lethal combination that has led to the repeated bailouts that have marked the last thirty years. Restrictions on leverage and liquidity are key, for the banks somehow believe that they can create resources out of thin air by the magic of leverage. It can’t be done. What they create is risk and volatility.2 (b) Make banks more transparent, especially in their treatment of over-the-counter derivatives, which should be much more tightly restricted and should not be underwritten by government-insured financial institutions. Taxpayers should not be backing up these risky products, no matter whether we think of them as insurance, gambling instruments, or, as Warren Buffett put it, financial weapons of mass destruction.3 (c) Make the banks and credit card companies more competitive and ensure that they act competitively. We have the technology to create an efficient electronics payment mechanism for the twenty-first century, but we have a banking system that is determined to maintain a credit and debit card system that not only exploits consumers but imposes large fees on merchants for every transaction. (d) Make it more difficult for banks to engage in predatory lending and abusive credit card practices, including by putting stricter limits on usury (excessively high interest rates). (e) Curb the bonuses that encourage excessive risk taking and shortsighted behavior. (f) Close down the offshore banking centers (and their onshore counterparts) that have been so successful both at circumventing regulations and at promoting tax evasion and avoidance. There is no good reason that so much finance goes on in the Cayman Islands; there is nothing about it or its climate that makes it so conducive to banking. It exists for one reason only: circumvention. Many

In the 1960s both Roman Catholics and evangelical Protestants turned to popular genres of music to provide songs for Christian worship. Roman Catholic songs tended to follow the folk idiom, using acoustical instruments such as guitar and flute, whereas evangelical Protestants turned to rock music, using electronic instruments.

Retroviruses as Carcinogens and Pathogens: Expectations and Reality.18 Duesberg’s article was a tour de force from the reigning father of retrovirology, calling for sobriety in the booming field that he saw spinning out of control. A young generation of virologists, armed with electron microscopes and other novel instruments and seeking wealth and career advancement, were pinning retroviruses as the culprits for every malignancy, with meager functional or empirical proof, or rigorous evidence-based science to explain the mechanism by which they caused disease.

An instrument such as an electric guitar, where the sound is produced mechanically and amplified and manipulated electronically, is not classified as an electrophone. An electric guitar is an example of a chordophone.

The point I want to emphasize is that science is about physical and biological mechanisms, about discovering how things work, about engineering, about theories that describe and can predict observations that we experience entirely through our senses or their extension through instruments. It is the instruments of science that supply us with the indirect evidence of things not seen. It is like Plato’s allegory of the ave, in which reality can only be experienced as shadows on the cave wall. An experimental physicist says that he measures the “spin” of an electron, but in actuality, he records certain effects on a screen and uses the theory (his faith) to calculate its meaning as a measurement.

The integrated circuit made its debut before electronic society at the New York Coliseum on March 24, 1959. The occasion was the industry’s most important yearly get-together—the annual convention of the Institute of Radio Engineers. Texas Instruments had managed, in the nick of time, to turn out a few chips that had no flying wires, and there was a lavish display at the TI booth featuring the new “solid circuits.” There was also a lavish prediction (which we know today to have been a massive understatement) from TI’s president, who said that Jack Kilby’s invention would prove to be the most important and must lucrative technological development since the silicon transistor. Nonetheless, the new circuit-on-a-chip received a frosty reception.

It wasn’t a sensation,” Kilby recalls dryly. There were about 17,000 electronic products on display at the convention (the Coliseum used a million watts of power daily during the gathering), and large numbers of them attracted more attention than the integrated circuit. There were hundreds of reporters on hand, and virtually all of them managed to miss the biggest story of the week. In its special issue on the convention, Electronics magazine, which was supposed to recognize important new developments in the field, offered breathless reports on such innovations as a backward -wave oscillator and a gallium arsenide diode, but made no mention of the integrated circuit. In a wrap-up two weeks later, Electronics devoted a single paragraph to Texas Instruments’ new “match-head size solid-state circuit.

It was a vast, low-ceilinged room in the lower levels of the basement. The ceiling was supported by pillars at regular intervals. The room was almost impossible to navigate, being crammed with sixty years’ worth of electronic flotsam and jetsam. He slowly worked his way backward, deeper into the room and further into the past. Toward the back, he came across a large cabinet that he mistook at first for an antique computer. It contained over a hundred vacuum tubes, each with its own set of inductors and capacitors. Then he uncovered the piano-style keyboard with the name HAMMOND above it. “Oh, that must be the Novachord,” said the Teleplay Director. “It’s like an organ, except not. It was used on various radio dramas for a few years, but when we got the Hammond B3’s it went into storage.” Philo told Viridios about it. “They have a Novachord?” Viridios said in surprise. “I’ve heard of it, but I’ve never played one. It was so far ahead of its time that nobody really knew what to do with it. It’s not an organ at all. It’s more like a polyphonic synthesizer.” “That’s not all,” said Philo. “I found some of your old equipment. It’s marked ‘Valence Sound Laboratory.’ It doesn’t look like musical equipment at all, more like scientific equipment. There’s an eight-foot metal cabinet full of circuitry like nothing I’ve ever seen before. The front panel is full of knobs and jacks labeled with mathematical symbols.” Viridios was astonished. “It still exists!” he exclaimed. “I thought it was dismantled and sold for scrap.” “What is it?” “That’s the instrument we used to create the soundtrack for Prisoners of the Iron Star. It’s called a Magneto-Thermion.

Duesberg’s article was a tour de force from the reigning father of retrovirology, calling for sobriety in the booming field that he saw spinning out of control. A young generation of virologists, armed with electron microscopes and other novel instruments and seeking wealth and career advancement, were pinning retroviruses as the culprits for every malignancy, with meager functional or empirical proof, or rigorous evidence-based science to explain the mechanism by which they caused disease.

Double diffusion made possible, for the first time, the mass production of precise, high-performance transistors. The technique promised to be highly profitable for any organization that could master its technical intricacies. Shockley therefore quit Bell Labs and, with financial backing from Arnold Beckman, president of a prestigious maker of scientific instruments, started a company to produce double-diffusion transistors. The inventor recruited the best young minds he could find, including Noyce; Gordon Moore, a physical chemist from Johns Hopkins; and Jean Hoerni, a Swiss-born physicist whose strength was in theory. Already thinking about human intelligence, Shockley made each of his recruits take a battery of psychological tests. The results described Noyce as an introvert, a conclusion so ludicrous that it should have told Shockley something about the value of such tests. Early in 1956, Shockley Semiconductor Laboratories opened for business in the sunny valley south of Palo Alto. It was the first electronics firm in what was to become Silicon Valley.

Neurologii au confirmat că dependența de electronice a "recalibrat" creierul uman, diminuând durata atenției, și afectând calitatea somnului. De fapt, și adulții puteau observa că li se întâmplă același lucru, după cum și eu s-au retras din lumea fizică în mesaje și postări. Termenul de "distracted parenting" a fost inventat pentru a înfățișa părintele care este atent din ce în ce mai puțin la propriul copil din cauza incapacității de a lăsa deoparte câteva ore pe zi dispozitivul electronic. Și cum ar putea să procedeze un părinte, când chiar școala solicită tot mai mult utilizarea laptopurilor și a iPad-urilor ca instrumente de învățare? Micile ecrane par a fi acaparat lumea cu totul.

In most genres, we can think of the “bottom” of the music as being the low-pitched or purely rhythmic instruments, such as the bass and drums.

LOW PRESENTS BOWIE AT THIRTY, IN ALL HIS CONTRADICTIONS: artist, hedonist, introvert, astral traveler, sexual tourist, depressive, con man, charmer, liar. Low, released in January 1977, was a new beginning for Bowie, kicking off what is forever revered as his “Berlin trilogy,” despite the fact that Low was mostly recorded in France. Side 1 consists of seven fragments, some manic synth pop songs, some just chilly atmospherics. Side 2 has four brooding electronic instrumentals. Both sides glisten with ideas: listening to Low, you hear Kraftwerk and Neu, maybe some Ramones, loads of Abba and disco. But Low flows together as an intensely emotional whole, as he moves through some serious psychic wreckage. For the first time since he became a star,

When the electron vibrates, the universe shakes." Physicists now accept interconnectedness as a rule principle, along with many forms of symmetry that extend across the universe — for example, it is theorized that every black hole may be matt. Which sort of description will satisfy Bell's criteria for a fully integrated, non-local reality? It would have to be a quantum theory, because if gravity is present everywhere at the same time, if black holes know what white holes are doing, and if a difference of spin in one particle induces an equal but opposite transition immediately in its counterpart somewhere in outer space, it is clear that the information going from one location to another travels faster than the speed of light. In ordinary reality, that is not allowed either by Newton or Einstein. Contemporary theorists like the British physicist, David Bohm, who worked extensively with the implications of Bell's theorem, had to assume that there is an "invisible field" that holds together all reality, a field that has the property of knowing what is happening everywhere at once. (The invisible term here means not only invisible to the eye but undetectable to any measurement instrument.) Without going deeper into these speculations, one can see that the unseen environment sounds very much like the inherent intellect of DNA, and both behave very much like the subconscious. The mind has the property of holding all of our ideas in place, so to speak, in a silent reservoir where they are organized precisely into concepts and categories. By naming it "thought," we may be watching nature think through many different channels, one of the most fortunate of which our minds are, because the mind will construct and feel the physical truth at the same time. It may seem completely rational to observe a quantum phenomenon in the context of light waves, but what if quantum truth was just as apparent in our own feelings, impulses and desires? Eddington once expressed flatly his assumption as a scientist that "the world's stuff is mind-stuff." Thus the quantum mechanical system, as knowledge creation, has a possible position in non-local reality.

When my son comes home today, he will play with the computer. Then he will go and do his homework, where he will use books for his reading, writing, and math exercises. My daughter, who is still in preschool, will simulate this process in reverse, playing with her notebooks, while the computer is still very much work for her. My hope is that these two categories, work and play, will remain as interwoven throughout their lives as the instruments that they use to engage in them, the book and the computer. I hope they are afforded the advantages of both, and that they pass on those advantages to others. My real hope, though, is that when it comes time to learn how these two very different instruments work (and play), I can send them to just one camp.

His intertwined understanding informed his professional path; his path informed an industry.

He dismissed the uneasy sensation finally. And he had time, then, to realize what would now happen to Wade Trask. The sentence of death would be formally delivered to him by Tilden Arallo, leader of Group 814. When that was done, Trask could theoretically spend his last week alive in any luxury he might choose. It was a point made much of by government propaganda. Civilization, it was said, had never before attained so high a level of freedom. Actually, escape was impossible. An electronic instrument was “printed” on the muscles of one shoulder of an individual. The device could be activated by any control station, which would start a burning pain of gradually increasing intensity. The device was selective. Every person in the Great Judge’s domain had his own combination registered at Control Center. There was a special combination for David Marin. And there was a separate combination for Wade Trask. Known only to a few, that was the secret of the Great Judge’s absolute power.

Cahill intended the Telharmonium to transmit music through phone lines to paying subscribers, but the venture failed.

decade was over For Dummies books had been published in over 30 languages, from Albanian to Turkish. In the early years, many publishers questioned whether the series would work in their language market. The answer today is a global phenomenon. Our reach also expanded beyond books. In 1996 a license agreement with EMI brought Classical Music For Dummies enhanced CDs to market. Critically and commercially successful, the series initiated the For Dummies licensing program of products and services that has included software, consumer electronics, instructional DVDs, DIY home improvement kits, online support services, beginner musical instruments, and more. Today, as books themselves have reached beyond traditional print formats to digital platforms, For Dummies continues to expand, into e-books, enhanced e-books, and mobile applications. And again, this too is happening globally, as Wiley editors in Australia, Canada, Germany, the U.K., and U.S. work together to grow our print and electronic publishing program, which is further enhanced by contributions from licensee publishers in France, the Netherlands, Spain, and elsewhere. It is remarkable to think that one book

Jeremy George Lake Charles Corvette interiors Interior colors, from the instrument panel to the synthetic suede interior trim, give a new meaning to car elegance. Jeremy George Lake Charles Available in the same Corvette Stingray trim as the 2017 1LT, 2LT and 3LT standard models, the powerful Z51 takes performance and aerodynamics to new heights. In combination with a limited slip differential electronic, dual performance exhaust and sportier suspension set-up it is clear that the Z51 is a sport car. The trim levels are available with the three suspension settings FE1, FE3 and FE4, which correspond to the two Z51 performance packages. Jeremy George Lake Charles It brings the GT2 seats into the upper interior trim and envelops the lower interior trim wrapped in microleather.

Sami Abouzid – A Musical Visionary Sami Abouzid is a legendary composer, producer, and multi-instrumentalist known for crafting a unique genre of music that blends electronic symphonies, cinematic soundtracks, EDM, and instrumental masterpieces. His music is a journey of magical moods, emotional depth, and breathtaking melodies, featuring iconic piano and guitar solos that touch the soul. With a career spanning 667+ soundtracks, 54 albums, and 50 singles, Sami Abouzid has shaped a timeless musical legacy, inspired by his eternal love for Scarlett Johansson since 2005. His music is more than sound—it’s an emotion, a story, and a healing force. From epic orchestral compositions to high-energy EDM and New Age cinematic soundscapes, Sami Abouzid’s work transcends genres, offering listeners a legendary musical experience. “Let’s make music great again.”