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The Hilti Long Neck Drywall Sander is faster to finish long-neck sanders can reduce project time due to the combination of speed, surface finish and minimal rework so you can get the job done sooner. It is easier to use. than an orbital sanders and are less likely to leave surface marks. When paired with Hilti mesh net sanding discs, you will experience virtually dust-free sanding which will help prolong the life of the tool, reduce dust exposure and minimize clean up.

Tracing the genealogy of our physical interaction with mobile devices back to textile and needlecraft culture.For many of our interactions with digital media, we do not sit at a keyboard but hold a mobile device in our hands. We turn and tilt and stroke and tap, and through these physical interactions with an object we make things: images, links, sites, networks. In The Fabric of Interface, Stephen Monteiro argues that our everyday digital practice has taken on traits common to textile and needlecraft culture. Our smart phones and tablets use some of the same skills―manual dexterity, pattern making, and linking―required by the handloom, the needlepoint hoop, and the lap-sized quilting frame. Monteiro goes on to argue that the capacity of textile metaphors to describe computing (weaving code, threaded discussions, zipped files, software patches, switch fabrics) represents deeper connections between digital communication and what has been called “homecraft” or “women's work.” Connecting networked media to practices that seem alien to media technologies, Monteiro identifies handicraft and textile techniques in the production of software and hardware, and cites the punched cards that were read by a loom's rods as a primitive form of computer memory; examines textual and visual discourses that position the digital image as a malleable fabric across its production, access, and use; compares the digital labor of liking, linking, and tagging to such earlier forms of collective production as quilting bees and piecework; and describes how the convergence of intimacy and handiwork at the screen interface, combined with needlecraft aesthetics, genders networked culture and activities in unexpected ways.

The Nu:Tekt NTS-3 kaoss pad is a groundbreaking new effects unit, seamlessly integrating the iconic KAOSS XY pad touch interface and the distinctiv...

Build your KAOSS The Nu:Tekt NTS-3 kaoss pad is a groundbreaking new effects unit, seamlessly integrating the iconic KAOSS XY pad touch interface...

Make your communication seamless in the skies with our 6-foot Aviation Intercom Interface Adapter, specifically designed for both civilian helicopters and military aircraft. This high-quality adapter features a 20dB pad, ensuring clear and uninterrupted communication during your flights. Our adapter comes with a 4-pole plug and a 4-pole jack, providing a secure and reliable connection for your aviation intercom system. The inclusion of an XLR3M connector further enhances its compatibility, making it a versatile choice for various aircraft communication systems.The 6-foot length of the adapter cable offers ample flexibility, allowing you to comfortably position your intercom system as per your convenience. Additionally, the 10-inch pigtail ensures easy installation and removal, making it a practical choice for frequent flyers and aviation professionals.Whether you're piloting a civilian helicopter or commanding a military aircraft, this Aviation Intercom Interface Adapter is an essential tool for effective communication. Its robust design and superior functionality make it a must-have accessory for any aviation communication setup.

Build your KAOSSThe Nu:Tekt NTS-3 kaoss pad is a groundbreaking new effects unit, seamlessly integrating the iconic KAOSS XY pad touch interface an...

Build your KAOSSThe Nu:Tekt NTS-3 kaoss pad is a groundbreaking new effects unit, seamlessly integrating the iconic KAOSS XY pad touch interface an...

Become a master of sound manipulation with the Nu:Tekt NTS-3 Kaoss Pad Programmable Effect DIY Synthesizer Kit. This innovative effects unit flawlessly combines the iconic KAOSS XY pad touch interface and the unique KAOSS effects into a compact, yet potent DIY kit. The NTS-3 Kaoss Pad offers up to four simultaneous effects and extensive editing options, making it a dynamic powerhouse for live performances and studio work.Despite its compact size, the NTS-3 Kaoss Pad is packed with a variety of built-in KAOSS effects, ranging from essential filters and compressors to immersive delays, reverbs, and innovative modulation effects. This vast array of effects provides a plethora of performance possibilities, previously unexplored in such a compact unit. The powerful engine of the NTS-3 allows you to play individual KAOSS effects or blend up to four effects simultaneously. These combinations can be saved for future use, providing virtually endless avenues of creative expression. The NTS-3 also offers extensive editing options, allowing you to fine-tune each effect's parameters to your exact specifications.The NTS-3 Kaoss Pad is more than just an FX unit; its unique interface brings a new dimension to your performances. Inspired by the intuitive, user-friendly design of all KAOSS products, the NTS-3 uses the iconic XY pad to control features like Mute, FX Depth, and tap BPM, along with a creative Latch function for controlling multiple effects simultaneously.The NTS-3 also offers unparalleled customization options through its open development API (Application Programming Interface) available on Github. This allows users to develop and create brand new effects via its dedicated logueSDK (Software Development Kit), making the NTS-3 a game-changer in the world of sound effects.As a performance-focused FX instrument, the NTS-3 offers comprehensive and flexible connectivity options. Sync IN/OUT connections make it easy to play in sync with other devices. True to the DIY spirit of Nu:Tekt products, the NTS-3 Kaoss Pad kit is safe and easy to assemble. The kit includes reversible metallic black and KAOSS reminiscent metallic red side panels for further personalization.The NTS-3 is a highly customizable FX unit that can be modified both cosmetically and functionally. To assist with physical customization, we provide the necessary schematics and instructions. The NTS-3 also comes with a diverse variety of music software from Izotope, including "Ozone Elements", "Skoove", "Reason Lite" DAW software, as well as software synths from KORG and other brands. This comprehensive bundle of software tools will help you elevate your music to new heights. Experience the next level of sonic expression with the Nu:Tekt NTS-3 Kaoss Pad Programmable Effect DIY Synthesizer Kit.

An investigation of the embodied engagement between the playing body and the videogame: how player and game incorporate each other.Our bodies engage with videogames in complex and fascinating ways. Through an entanglement of eyes-on-screens, ears-at-speakers, and muscles-against-interfaces, we experience games with our senses. But, as Brendan Keogh argues in A Play of Bodies, this corporal engagement goes both ways; as we touch the videogame, it touches back, augmenting the very senses with which we perceive. Keogh investigates this merging of actual and virtual bodies and worlds, asking how our embodied sense of perception constitutes, and becomes constituted by, the phenomenon of videogame play. In short, how do we perceive videogames?Keogh works toward formulating a phenomenology of videogame experience, focusing on what happens in the embodied engagement between the playing body and the videogame, and anchoring his analysis in an eclectic series of games that range from mainstream to niche titles. Considering smartphone videogames, he proposes a notion of co-attentiveness to understand how players can feel present in a virtual world without forgetting that they are touching a screen in the actual world. He discusses the somatic basis of videogame play, whether games involve vigorous physical movement or quietly sitting on a couch with a controller; the sometimes overlooked visual and audible pleasures of videogame experience; and modes of temporality represented by character death, failure, and repetition. Finally, he considers two metaphorical characters: the “hacker,” representing the hegemonic, masculine gamers concerned with control and configuration; and the “cyborg,” less concerned with control than with embodiment and incorporation.

The career of the pioneering designer Muriel Cooper, whose work spanned media from printed book to software interface; generously illustrated in color.Muriel Cooper (1925–1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)―seven bars that represent the lowercase letters “mitp” as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT's Media Lab, where she developed software interfaces and taught a new generation of designers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper's career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT.A humanist among scientists, Cooper embraced dynamism, simultaneity, transparency, and expressiveness across all the media she worked in. More than two decades after her career came to a premature end, Muriel Cooper's legacy is still unfolding. This beautiful slip-cased volume, designed by Yasuyo Iguchi, looks back at a body of work that is as contemporary now as it was when Cooper was experimenting with IBM Selectric typewriters. She designed design's future.

An investigation of interactivity, interfaces and their design, and the webs of complex interactions that result.We are surrounded by interactive devices, artifacts, and systems. The general assumption is that interactivity is good―that it is a positive feature associated with being modern, efficient, fast, flexible, and in control. Yet there is no very precise idea of what interaction is and what interactivity means. In this book, Lars-Erik Janlert and Erik Stolterman investigate the elements of interaction and how they can be defined and measured. They focus on interaction with digital artifacts and systems but draw inspiration from the broader, everyday sense of the word.Viewing the topic from a design perspective, Janlert and Stolterman take as their starting point the interface, which is designed to implement the interaction. They explore how the interface has changed over time, from a surface with knobs and dials to clickable symbols to gestures to the absence of anything visible. Janlert and Stolterman examine properties and qualities of designed artifacts and systems, primarily those that are open for manipulation by designers, considering such topics as complexity, clutter, control, and the emergence of an expressive-impressive style of interaction. They argue that only when we understand the basic concepts and terms of interactivity and interaction will we be able to discuss seriously its possible futures.

An investigation of the embodied engagement between the playing body and the videogame: how player and game incorporate each other.Our bodies engage with videogames in complex and fascinating ways. Through an entanglement of eyes-on-screens, ears-at-speakers, and muscles-against-interfaces, we experience games with our senses. But, as Brendan Keogh argues in A Play of Bodies, this corporal engagement goes both ways; as we touch the videogame, it touches back, augmenting the very senses with which we perceive. Keogh investigates this merging of actual and virtual bodies and worlds, asking how our embodied sense of perception constitutes, and becomes constituted by, the phenomenon of videogame play. In short, how do we perceive videogames?Keogh works toward formulating a phenomenology of videogame experience, focusing on what happens in the embodied engagement between the playing body and the videogame, and anchoring his analysis in an eclectic series of games that range from mainstream to niche titles. Considering smartphone videogames, he proposes a notion of co-attentiveness to understand how players can feel present in a virtual world without forgetting that they are touching a screen in the actual world. He discusses the somatic basis of videogame play, whether games involve vigorous physical movement or quietly sitting on a couch with a controller; the sometimes overlooked visual and audible pleasures of videogame experience; and modes of temporality represented by character death, failure, and repetition. Finally, he considers two metaphorical characters: the “hacker,” representing the hegemonic, masculine gamers concerned with control and configuration; and the “cyborg,” less concerned with control than with embodiment and incorporation.

How interactive voice-based technology can tap into the automatic and powerful responses all speech―whether from human or machine―evokes.Interfaces that talk and listen are populating computers, cars, call centers, and even home appliances and toys, but voice interfaces invariably frustrate rather than help. In Wired for Speech, Clifford Nass and Scott Brave reveal how interactive voice technologies can readily and effectively tap into the automatic responses all speech―whether from human or machine―evokes. Wired for Speech demonstrates that people are "voice-activated": we respond to voice technologies as we respond to actual people and behave as we would in any social situation. By leveraging this powerful finding, voice interfaces can truly emerge as the next frontier for efficient, user-friendly technology.Wired for Speech presents new theories and experiments and applies them to critical issues concerning how people interact with technology-based voices. It considers how people respond to a female voice in e-commerce (does stereotyping matter?), how a car's voice can promote safer driving (are "happy" cars better cars?), whether synthetic voices have personality and emotion (is sounding like a person always good?), whether an automated call center should apologize when it cannot understand a spoken request ("To Err is Interface; To Blame, Complex"), and much more. Nass and Brave's deep understanding of both social science and design, drawn from ten years of research at Nass's Stanford laboratory, produces results that often challenge conventional wisdom and common design practices. These insights will help designers and marketers build better interfaces, scientists construct better theories, and everyone gain better understandings of the future of the machines that speak with us.

Interfaces that talk and listen are populating computers, cars, call centers, and even home appliances and toys, but voice interfaces invariably frustrate rather than help. In Wired for Speech, Clifford Nass and Scott Brave reveal how interactive voice technologies can readily and effectively tap into the automatic responses all speech -- whether from human or machine -- evokes. Wired for Speech demonstrates that people are "voice-activated": we respond to voice technologies as we respond to actual people and behave as we would in any social situation. By leveraging this powerful finding, voice interfaces can truly emerge as the next frontier for efficient, user-friendly technology. Wired for Speech presents new theories and experiments and applies them to critical issues concerning how people interact with technology-based voices. It considers how people respond to a female voice in e-commerce (does stereotyping matter?), how a car's voice can promote safer driving (are "happy" cars better cars?), whether synthetic voices have personality and emotion (is sounding like a person always good?), whether an automated call center should apologize when it cannot understand a spoken request ("To Err is Interface; To Blame, Complex"), and much more. Nass and Brave's deep understanding of both social science and design, drawn from ten years of research at Nass's Stanford laboratory, produces results that often challenge conventional wisdom and common design practices. These insights will help designers and marketers build better interfaces, scientists construct better theories, and everyone gain better understandings of the future of the machines that speak with us.

Design objects, bachelor pads, and multimedia rotating beds as expressions of the relationships among architecture, gender, and sexuality.Published for the first time in 1953, Playboy became not only the first pornographic popular magazine in America, but also came to embody an entirely new lifestyle that took place in a series of utopian multimedia spaces, from the fictional Playboy's Penthouse of 1956 to the Playboy Mansion of 1959 and the Playboy Clubs of the 1960s. At the same time, the invention of the contraceptive pill offered access to a biochemical technique able to separate (hetero)sexuality and reproduction, troubling the traditional relationships between gender, sexuality, power, and space. In Pornotopia, Paul Preciado examines popular culture and pornographic spaces as sites of architectural production. Combining historical perspectives with insights from critical theory, gender studies, queer theory, porn studies, and the history of technology, and drawing from a range of primary transdisciplinary sourcestreatises on sexuality, medical and pharmaceutical handbooks, architecture journals, erotic magazines, building manuals, and novels―Preciado traces the strategic relationships among architecture, gender, and sexuality through popular sites related to the production and consumption of pornography: design objects, bachelor pads, and multimedia rotating beds. Largely relegated to the margins of traditional histories of architecture, these sites are not mere spaces but a series of overlapping systems of representation. They are understood here not as inherently or naturally sexual, nor as perverted or queer, but rather as biopolitical techniques for governing sexual reproduction and the production of gender in modernity.

A comprehensive examination of the interfaces of logic, computer science, and game theory, drawing on twenty years of research on logic and games.This book draws on ideas from philosophical logic, computational logic, multi-agent systems, and game theory to offer a comprehensive account of logic and games viewed in two complementary ways. It examines the logic of games: the development of sophisticated modern dynamic logics that model information flow, communication, and interactive structures in games. It also examines logic as games: the idea that logical activities of reasoning and many related tasks can be viewed in the form of games.In doing so, the book takes up the “intelligent interaction” of agents engaging in competitive or cooperative activities and examines the patterns of strategic behavior that arise. It develops modern logical systems that can analyze information-driven changes in players' knowledge and beliefs, and introduces the “Theory of Play” that emerges from the combination of logic and game theory. This results in a new view of logic itself as an interactive rational activity based on reasoning, perception, and communication that has particular relevance for games.Logic in Games, based on a course taught by the author at Stanford University, the University of Amsterdam, and elsewhere, can be used in advanced seminars and as a resource for researchers.

RCF L-PAD 16CX USB 16-channel Mixer Huge feature list including built in effects and USB for direct recording (use it like your audio interface). ...

Made of durable high-quality materials, it can be heated quickly and evenly through the built-in micro heater chip.It can be washed with water for recycling, but keep the interface away from water when connecting USB power. 1 pair of size reference papers are included, you can cut them according to the size number as needed. When connecting the USB cable to a laptop or computer, one pair of insoles can be heated at a time, which is a very suitable accessory for computer workers in cold winters. Suitable for all kinds of shoes.

Stay cool in your Quest 3S with a perforated yet immersive fabric wrap designed to adapt to your face for maximum comfort during active MR sessions. Cleaning your facial interface is a breeze with a silicone facial pad.Comfortable immersionKeep cool with a lightweight and breathable performance fabric designed to promote airflow and dissipate heat. The fabric uses opaque material so your mixed reality experiences stay immersive.Perfect fitPlay longer thanks to a new flexible facial interface design that distributes weight more evenly and adapts to your facial features for a more comfortable fit.Cleanup made easyEasily wipe down the silicone facial pad that feels soft against your skin. You can even wash the entire facial interface for a deeper clean.

Product HighlightsAudio Interface: Main + Headphone OutputTwo Jog WheelsFour Pads per Deck (Four Pad Modes)Pad Modes: Hot-Cue, Loop, FX, & Samp...