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Themenabend Mesh networking

🇨🇭 · Chaostreff Bern · vimja

Am Donnerstag, den 24. April 2025, führen wir einen Themeabend zu Mesh networking durch.

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Lenox Woodshop – Planer DRO

🇺🇸 · Milwaukee Makerspace · Schwefel, Jason

Some of you may have noticed this little dohicky on the planer in the Lenox woodshop and wondered what it is. It is a Digital Read Out (DRO). Conceptually a DRO very similar to the digital calipers that many of us use, this one just happens to be mounted permanently to the machine. DROs have long been used the machining world as that type of work is far more precise as wood moves and metal does not. What we do have a need for is repeatability. Now, if you need to plane one more board down to the same thickness as the ones you did an hour ago, you can. Here are the instructions as well: Instructions: If the display is off, press the power button. (The only one without a label) When the screen comes on, it may be in one of the following modes: mm, decimal in or fractional in. I would recommend using mm or decimal in as the fractional in does not feel like it updates its value. Simply put, I do not trust it. The measurement mode can be changed by pressing the Mode button In the above pictures you will notice that in the upper left there is CAL displayed. This indicates the DRO is using the calibrated scale for measurement. You can change to the incremental scale by pressing Cal/0 and is indicated by INC in the upper left. This will give you a 0 setpoint wherever you are currently at. This 0 setpoint will be lost when you change back to using the CAL scale. There is tape over the battery cover. Please DO NOT ever remove the battery. Battery remove will reset the calibration to 0 at whatever height the DRO is at when powered again. While not terribly hard or difficult to do, calibration is fiddly and does require time to complete.

toolwoodWoodworkingdrogrizly

The “New Challenge” manifesto from 1983

🇺🇸 · AS220 Labs · David Dvorchak

Pre-dating AS220, the “New Challenge” manifesto was penned by a group of artists between 1982 and 1983, having rallied together in response to a critical panning, from Channing Gray of The Providence Journal, of an exhibit of work by artist Umberto Crenca. The manifesto ended up being signed by only three members of that original group: Steven Emma, Martha Dempster, and Umberto Crenca. It was published in The Providence Eagle, a local alt-weekly newspaper, on April 14th. 1983. Two and a half years later, in 1985, Crenca would found AS220 and lead the organization for the next 30 years, giving opportunities to thousands of artists. Headline: The "New Challenge" Art Manifesto Subhead: A New Challenge To the editor: It is time we artists stop harboring false hopes and come to terms with the present deteriorating situation in the arts. We must unite and challenge the entrenched assumptions and premises that now pervade our entire culture. We ourselves must give impetus to solving the problems that confront us today. After much debate, questioning, and discussion we have put forth this manifesto and a challenge. We realize that no artist can survive and grow without the support of both his peers and the public regardless of the artist's unyielding belief in himself. We realize the prevailing order has the power to exercise control over the support systems necessary for artistic survival and growth including the media whose information or propaganda drastically influences public opinion and in turn public support. We challenge this order and the underlying assumptions that rationalize it! We challenge the assumption that an art degree, education, position, or monetary success, necessarily legitimizes an artist's endeavors, opinions, judgments, or gives credence to an artist's work! We challenge the award systems with their self-congratulatory aggrandizement that fosters the false premise that the winning of awards, prizes, grants, and so on necessarily validates an artist's work, position, judgment or opinion. We challenge the pervasive notion that complete, unbridled, uncensored freedom produces mediocrity and that excellence rises out of repression. It does not! Art is stifled and stagnates under repression whether that repression is overtly political or covertly economic, hence the historical exodus of artists and others from repressive states to those more conducive to the free expression of ideas. The relegating of an artist to an arbitrary position of insignificance, anonymity, or poverty by any group is a form of repression and must be challenged. We challenge the discriminatory practices of the hierarchically interconnected art associations, art clubs, art galleries, art councils, art publications, art schools, and art museums. They reek of favoritism! We challenge the fairness of the methods of dispersing funds for the arts and we challenge the right or privilege of any art institution, public or private, that receives state support either directly through grants or indirectly through tax write-offs, to discriminate in any way against an artist. We challenge the over-emphasis on technique and process which has become a limiting and debilitating factor in art and which has also become a primary criteria for judging artistic merit. Art has been removed from being an integral part of our society and has been relegated to mere processes which had lead to the production of dry, academic, pedantic, superficial, mechanical, and mass produced works of art devoid of all integrity, honesty, and meaning and has stripped art of its physical, psychological, moral, and spiritual impact necessary for the thriving and indeed the very survival of human culture. Art must be allowed to flourish unhampered because art is one of the last areas of culture where man defines his spiritual nature. [Signed] Steven Emma Martha Dempster Umberto Crenca Providence

Vai jūsu uzņēmums ir gatavs digitālajai nākotnei?

🇱🇻 · Ventspils design studio RADE

Digitālās prasmes jau šodien ir izšķirošas uzņēmumu konkurētspējai. Eiropas Savienība uzsver, ka līdz 2025. gadam aptuveni 90% darbavietu būs nepieciešamas noteikta līmeņa digitālās prasmes. Diemžēl Latvija šobrīd atpaliek, ieņemot 23. vietu ES valstu vidū pēc tehnoloģiju integrācijas uzņēmumos, turklāt ikai 15% Latvijas uzņēmumu piedāvā saviem darbiniekiem apgūt IKT prasmes. KAS IR LIFT? ES Atveseļošanas Fonda līdzfinansēta iniciatīva, ko īsteno RTU Riga Business School sadarbībā ar Latvijas IT klasteri. LIFT projektā pieejami vairāk kā 80 dažādi kursi uzņēmumu digitalizācijas izaugsmei. MĒRĶIS: Nodrošināt Latvijas uzņēmējus ar digitālajām prasmēm, kuras nepieciešamas, lai veicinātu konkurētspēju mūsdienu ekonomikā. De minimis finansējums sedz 100% kursa izmaksu (neskaitot PVN no pilnās cenas); pieejams arī GBER līdzfinansējums. KAS VAR SAŅEMT? Uzņēmumi, kas reģistrēti komercreģistrā, un to darbinieki (izņemot pašnodarbinātos, kā arī valsts un pašvaldību iestāžu darbiniekus). Uzņēmumi ar nodokļu parādu līdz 150 EUR. Uzņēmumi, kuru pārstāvji nav atzīti par vainīgiem noziedzīgos nodarījumos. Līdzfinansējums nav pieejams uzņēmumiem, kas darbojas neatbalstāmajās nozarēs, piemēram, alkohola ražošanā, nekustamo īpašumu jomā, azartspēlēs, taču ir pieejams finanšu un apdrošināšanas uzņēmumu pārstāvjiem. KĀDS IR PROCESS? “EDIC uzņēmumu digitālo prasmju attīstība” (projekta Nr. 2.3.1.2.i.0/1/24/I/CFLA/001)

Manifesting: old challenges, new challenges.

🇺🇸 · AS220 Labs · David Dvorchak

On this date (April 14th) in 1983, a letter to the editor was printed in The Providence Eagle, an alt-weekly newspaper in the city. Its opening read: "It is time we artists stop harboring false hopes and come to terms with the present deteriorating situation in the arts." Did I say "a letter to the editor"? I apologize, it was a self-stated manifesto and challenge (indeed, the word "challenge" or "challenged" appears 11 times in the body of the text). It took on a myriad of issues that the authors saw as afflicting art and artists: the distribution of funding, the awarding of prizes and recognition, the influence of the media, networks of art clubs, galleries, schools, and much more. This manifesto was signed by three people: Steven Emma , Martha Dempster, and Umberto Crenca . Read the transcribed manifesto in full here! If you subscribe to this newsletter, you're probably familiar with one of those names. Almost 2 and a half years later, Umberto Crenca would go on to open AS220 on the third floor above the Providence Performing Arts Center at 220 Weybosset Street in downtown Providence, leading and building the organization for 30 years, giving opportunities to thousands of artists. He also just wrapped up a show of his own work, along with 6 other artists, at Providence's new Angell Street Galleries . I'm happy to report that Steven and Martha, who are married to each other, are alive and well and living in Providence. I had the chance to meet and visit them in February at their home where we talked and looked at some cool pre-AS220 historical artifacts. These three were the last ones standing from a slightly larger group of artists who began meeting, talking, and writing this document after Channing Gray of The Providence Journal gave a critical panning to a show of Bert's that featured work full of political and social commentary. They believed enough in the ideas contained within to sign their names to it. To celebrate AS220's 40th, we’ll be sharing AS220 history from folks like Umberto, Steven, Martha, and lots of others in the coming weeks and months. This is not all about nostalgia, though. Our challenge to you right now is to read this manifesto from 1983 and then think about how far we have or haven't come. Is there a "prevailing order" with "the power to exercise control over the support systems necessary for artistic survival and growth"? Are we living through political and economic repression? Is art currently "allowed to flourish unhampered"? While you ponder that, consider that the Trump administration and DOGE recently canceled NEH funding to state-based grantmaking agencies like the Rhode Island Council for the Humanities , which will only trickle down further and deprive organizations and individuals working in our local arts and culture sectors close to home. Feel like you need to “do something”? Click here to contact your elected officials - let them know that you oppose these cuts and that this funding must be restored. It might not be a manifesto, but it's something you can feel good signing your name to.