Infinite Spinner

Controlling A4988 driver

Ref condensateur 100microF

Ref stepper 17PM-K

Ref driver A4988 circuit


Workshop Machine Learning w/Gene Kogan

Deep learning is a part of machine learning

Using multiples layers of neurons




Different types of data uses 

Classification would be for things that can be sorted right or wrong (such as spam email)

Regression (exemple probability of raining tomorrow)






Deep visualization toolbox

Understanding convolution layers


t-SNE (convnet > t-SNE)

Preserv point to point distance (similar features get clustered together)

Audio t-SNE

Animal t-SNE

Ikea t-SNE

Satelitte images (by Zach Liebermann) (used in Landlines)


Word vectors


Version of that in Wiki-t-SNE


Deep dream

Most neuralnet were trained on the same images so that’s why it recongnizes a lot of cats/dogs


Style transfer

Content loss/style loss


Image analogies



Shading (broken link)


owned by deepmind by google

ML generative models

principal component analysis > eigen vectors > linear algebra



Recurrent Neural Networks Tutorial, Part 1 – Introduction to RNNs

Cours moteur pas à pas 25 mars


Intro aux moteurs/courants

P = U * I

W = V * A



Courant alternatif ou courant continu : Moteur universel (sèche-cheveux) stator(aimant)/rotor. Pour varier la vitesse, varier la tension d’entrée. Avantage : Pas très cher, peux tourner très vite.

Courant alternatif : Moteur synchrone (synchro avec la tension, difficile à démarrer, moteur pour petite horloge murale, pas besoin de beaucoup d’énergie, horloge reste à l’heure). Très utilisé comme alternateur (50herz en exploitation). Avantage : synchrone

Courant alternatif : Moteur asynchrone (courant triphasé). Très puissant. Utilisé dans les grosse machines, skilift, etc Avantage : puissant. Utilisé dans les robots industriel (avec beaucoup d’électronique + encodeur). Voiture électrique avec beaucoup d’électronique.

Courant continu : Moteur Pas à pas (dans les montres swatch par exemple). En général 8 bobines. En général 200 pas. Pas très rapide. Max 2000 impulsions max. 10 tour seconde/ 600 tours minutes. Pas puissant. Avantage : on peux lui dire où il dois aller. (Différent d’un servo moteur !). Boucle ouverte, on lui envoie des impulsions mais pour être sur que le moteur n’a pas loupé une impulsions, il faut utilisé un encodeur.

Courant alternatif : Moteur Brushless (vélo électrique). Capteur intégré (capteur magnétique). Beaucoup de puissance, peu de place.

Servo drive (quand le moteur sait où il est).

Pont en H


Diode de roue libre (quand le moteur est arrêté il génére un peu de courant. ) Diode absorde la tension. Free weel.

Bobine A et Bobine B

Si on met les fils ensemble on peut savoir où sont les bobines.

Fluke multimètre

wesc weber speed controller open source motor

4 fils moteur bipolaires

5 ou 6 fils unipolaire



Driver reprap(première imprimantes 3d) (allegro 4988)



VDD 5v Resistance pull up



Document Scannable le 25 mars 2017 16_12_59

Meeting with Horst Wenninger

Following our visit to the CERN archives where we discovered so many great pictures of Bubble Chambers in the 70s. Julian organized a meeting with physicist Horst Wenninger who started working on Bubble Chambers Experiments at CERN back in the 60s, such as BEBC.
He brought us a lot of documents and pictures to help us understand how those experiments where led, talked to us about experiment BEBC. It was a time where computers were as big as a room and magnets where way much bigger than what we saw at the large magnet facility, but what they could capture with cameras and what was happening inside the bubble chamber was more simpler to understand. A picture of real particles tracks, not abstract data made visual by a computer.

It was fascinating to hear so much stories about CERN, and the birth of the world wide web.

Oliver Keller’s Augmented Reality Particles

Oliver showed us his app using a scintillator associated with an augmented reality system to let us see the particles. His idea was to create a mobile cloud chamber. We tested it with different materials.

Then we discussed about radioactivity in general and he showed us another detector called Safecast that was developped after Fukushima to allow anyone to gather data about radioactivity.

Then we talked about decay chain and operation of the microcosm cloud chamber. We were wondering about the material used to produce the different type of particle. To produce Alpha Particle, material is radium, decaying into Radon which is a gaz and can travel through the cloud chamber, then decaying into pollunium, then quickly decaying into lead, producing this double particle trace. Alpha Particles are emitted when the material decay into another material.
Other Alpha particles are produced by the decay of Americium. Electrons are produced by the decay of Strontium 90.

Large Magnet Facility

Large magnet facility visit with Susana Izquierdo Bermudez where we learned how Superconducting magnets are made.

Antimatter Factory

Today’s visit to Antimatter Factory with François Butin where we discovered the latest antiproton decelerator ELENA and some other experiences linked to antimatter.

IRCA note d’intention

The cinematographic machine marks […] its representation of the universe with its own original proprieties which make of this interpretation not a reflection, not a simple copy of the conception of the organic mother’s mentality, but a system indeed differently individualised, half independent, which contains in embryo the development of a philosophy so far from the ordinary opinions that we could call it antiphilosophy.

Jean Epstein, L’intelligence d’une machine, Paris, Jacques Melot, 1946, p. 124.

My aim for this project is to work at the different levels of the cinematographic process at the same time. More than producing a film, I intend to embrace the whole cinematographic process by considering it as an autonomous dispositif of recording and projecting. The antimatter department will constitute the playground for our experiments. Why antimatter? Because its “anti” aspect refers to the negative which is nothing else than an “antireality” or an anitphilosophy: both contain the hidden face of our “reality”. But what is antimatter? Similarly to antiphilosophy, we don’t really know. It is both the same and the other at the same time and one of the scientists’ aims is to resolve this strange paradox. Every day they work at the optimisation of their machine and their experimental dispositif, impatiently waiting for the restarting of the « machine », this obscure thing hidden from sight in its « sarcophagus ». This fostering mother machine’s aim is solely to breast-feed its machine-children in order for them to discover one of the many mysteries of our universe. The machine’s awakening is set for the end of April and I would like to record with my Bolex the excitation preceding it.

My intention is to shoot in 16mm film with a tape recorder for two reasons: 1) to articulate at its best the relation between the negative and antimatter, 2) to rethink the foundations of cinema by confronting its old form to new media. Indeed, I will work on this project with interactive designer Laura Perrenoud who mainly works with new medias and technologies. We find it interesting to bring interactivity in the realm of cinema by working with “low technologies”. We answer in this way to the CERN where old and new collide everywhere, while questioning at the same time the nature of cinema today. Moreover, we bring back the question of mechanisms, both of cinematographic dispositf and the machine itself as we intend to use mechanical machines as recording tools. We therefore intend to build a “supermachine” which will constitute the projecting device for the film and which will refer to the machines at the CERN which hide and reveal themselves at the same time. The machines can be seen everywhere but “the machine” remains a mystery. The form this “supermachine” will take is still undecided but we will build it with parts from 16mm projectors, either used directly or as model for printing new 3D parts.

This “supermachine” is therefore not only an installation but much more a real reflection towards a new way of thinking cinema at a turning point of its history. The film will not be enclosed in the screen but will outgrow it in order to constitute one and only dispositif revealing its mechanical process but keeping its deep antiphilosophical nature a mystery.

Sophie Dascal, 4th April 2016