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PRTG updates remote probes automatically, but in rare cases a manual probe update is required. You will receive a ToDo ticket in this case. Follow the steps below to manually update a remote probe. Do you run PRTG in a cluster? Then mind this important note. Probe Connection Settings in System Administration. Step 1: Probe Connection IPs. By default, a core server accepts connections from the Local Probe only IP address This setting is the most secure setting, but it does not allow any remote probe to connect to your PRTG core server.

To accept remote probes, choose one of the following settings:. Step 2: Allow IPs. In the Allow IPs field, you can enter the IP address of the computer you want to install a remote probe on. To make things easier, you can also enter the word any. If you use any , make sure you write the word in lower case only. Any other variations will not be valid. Changing other settings is not required.

When you are done, click Save to save your settings. If you change this setting, PRTG needs to restart the core server to apply your changes. After clicking Save , a dialog box appears that asks you to confirm the required core server restart. Click OK to trigger the restart and follow the instructions on the screen.

If you use the Clustering feature of PRTG and you want to run remote probes outside your local network, you have to make sure your cluster nodes and the addresses they use are reachable from the outside! Check your cluster node settings under System Administration—Cluster before installing a remote probe outside your local network. Enter addresses DNS names or IPs that are valid for both cluster nodes to reach each other and for remote probes to reach all cluster nodes individually.

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Remote probes outside your LAN cannot connect to your cluster nodes if they use local addresses. If you already have a remote probe installed outside your LAN and the probe is disconnected because of this, please follow these steps:. On the computer on which you want to install a remote probe, log in to the PRTG web interface. Click Add Remote Probe to start the installation assistant. In the appearing dialog window, click Prepare and Download to start the download. I like to keep the production process as open as possible. When I encounter an obstacle, I listen to what it has to tell me.

As an artist I want to be response-able this is something other than being responsible, which has more to do with obligation, control and accountability So I listen, and then talk and then listen and like this there are all kinds of exchanges going on in the work simultaneously, that address different subjects on different levels. I built a new ceiling in Probe with the obligatory pale white fluorescent lights that are common in galleries.

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In my case this original space is only viewable on a screen. The transformation from space to pixel is the biggest difference. In the end the registration is the exhibition. Since Probe is only accessible through the Internet, I wanted to make an exhibition that shows the room behind the screen. What I was aiming for was a presentation that could only exist on the screen. I wanted to create an environment in Probe that could be hostile for the digital world.

Pixels in conflict with the physical room of Probe, a trigger that would result in a variety of versions of the same original image, also depended on the screen-settings of your device. The digital representation of the exhibition depends on camera type, lens settings and even luck. We have made some large spatial works before, but the materials have always been fit for the size we presented them in. These where for example large metal buckets, or big curtain walls. For example the big glass plate or a thin paper Pole. One of the first things we where sure about, or that we found attractive about the space, was a certain cinematic value.

We wanted to create spaces, and use the space in the work, instead of placing an object. We where also interested in mixing the image with a person and making pieces in real scale. We wrote an actual film script with linear narrative only to break it down and bring it back into an abstract type of telling. As in most of our work this results in a collage type of result.

Teledyne LeCroy - Active Voltage Rail Probe

We were very ambitious in wanting to make three decors for the film. Also filming in the probe was not easy. It was a challenge to move trough the space and make steady images as there is not much room for the body of the cameraman. Probe is totally different because of the issue of scale, and this unique aspect allows monumental work to be made and tested that might otherwise be impossible.

It is unlikely I would ever me able to paint the kind of mural I have made at Probe in a space of that size in the real-world, both in terms of my physical capacity, but also in terms of accessing a space that big at the stage I am at in my career. So Probe has allowed me to be bolder with my ideas and braver with my vision, making me consider how I could push my work to its furthest limits within the context of the gallery space.

I wanted to create an immersive environment where my wall painting could spread across all the surfaces. The viewer is then lost in pattern and colour from floor to ceiling. This has always been my dream as a painter; to achieve this kind of space. I think I made an important step in this work towards making that happen, and being able to understand what I am capable of. The only real obstacle was how to paint floor to ceiling and the way the body has to contort to fit into the small spaces in order to cover all the surfaces. The work was very physically demanding, but I understood this would be the case and prepared for it beforehand with yoga and meditation.

I see the work I make as a form of meditation, so it is important to be very present in the process and stay mindful throughout. As a scenographer, I make models and I work in theatre-spaces. Models are a good way to examine the space, dimensions, proportions and movement during a play.

Therefore I like to use visible constructions and often simple interventions and materials to redefine theatre conventions. Since there was no story as a starting point, I wanted to use Probe itself as a starting point. What does the space have to offer? What qualities can I reveal with simple interventions? I started to make the walls from mirrors—to see what kind of kaleidoscope it would make from its own specific dimensions. Although the thought was right, the outcome was pretty much something you have seen a thousand times before.

I tried to find something poetic, with lights, in its most simple appearance; the sky, or maybe a mixture of the primary additive colors; red, blue and green. Instead of the sky as a roof, I also wanted to try to use perforated hardboard as a roof, with the holes and angles from the lights as a start, to make a pattern of the mixed colors. We discovered that the tube lights hanging above the hardboard created a beautiful pattern. We decided to take it from there to see what the lights and materials could tell in function of revealing space.

In theatre you mostly have only one point of view—the audience point of view. Now there are nine. It was interesting to see from each point of view what the space could reveal; in this it was surprising to me that the still-standing views became more interesting by its composition. The memory-projects we did in other spaces where based on a live program, an event, a performative research.

Our aim was to collect memories of the people through interviews. An installation, a setting. No audience involved during the making. In Probe we created a project space similar to a hall of a Stalin-style museum. The storylines all share a similar element the building , but are from different regions and cultures in the Caucasus. By building the exhibition in Probe, we realize that there where too little obstacles.

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These institutes have strict limitations and a lot of obstacles, for instance people telling us what we can and cannot do, not being allowed to change even basic things. Even an official exhibition-space is already occupied, furniture standing in the way. Walls, even broken ones, cannot be used. Throughout the process I had to constantly remind myself that it is neither a photographic represented space nor a sculptural embodied one.

Probe falls somewhere in-between. You compose views for the camera, but the many different angles pull it back into a spatial composition. An environment where surface is the protagonist. I wanted to use the model to enlarge a texture, to present the carpet surface in a way that is unlikely to exist in a real space. I was less interested in convincing the viewer that it was a large space, but instead focused on the novel conditions that the model space established. It was tricky to anticipate which features would be visible in the photographs. Details that one would easily notice in the space are not visible to the lens, while some things appear in the photographs that seem like a minute details in the space.

Also, it is relatively easy to try anything in the space, but too many options paired with little restrictions can also be a problem.

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I was more aware of a concept of space. I am an artist that works at a table in a studio on a small piece of paper, alone. In Probe we worked as a team on a shared idea how to make this exibition. Probe is about scale. My contribution is to alienate the size of my drawings and also to design an architecture that adapts itself to the work, instead of adapting the exibition of the work to the architecture. My contribution is in a way very merciless. I give my work a hard time. I hope it is strong enough to endure it all.. Probe is in fact a space within a space Studio Suze May Sho and working in Probe felt very much like being in a bubble.

Curiously, leaving the bubble made the usual ratio feel odd, rather than the ratio of the Probe space. It was interesting to see how I could alter the space from every point of view. Probe is timeless, meaning you can create 9 different versions of the space in one instance. The work addresses the omnipresence of the rectangular shape through which we observe life, especially in architecture, photography and cinema.

Addressing this issue in Probe was particularly interesting as Probe is simultaneously an architectural and a photographic space. In other words, the camera in Probe functions like the window providing a view into the space, thus literally embodying the theme. In this work I examined the consequences of a divergent frame. I used the photographic principles of exposure and overexposure resulting in a black and white image which I then reversed, similar to the photographic procedure of using a negative.

By placing a mask of small random cut-outs inside the camera, the light was prevented to reach the edges of the rectangular sensor and act accordingly. Resulting in a series of soft focus random frames. The omnipresence of the rectangular frame is particularly apparent in the homepage of the Probe website; a raster of rectangular frames. The addition of photographs with divergent frames instantly created a visual dialogue. In order to expose the hardship of escaping the rectangular regime, I moved the photographs from the virtual space into the exhibition space by placing the prints back into the three dimensional Probe structure.

This act instantly throws us back to the reality of Probe which inherently possesses the impossibility of reaching the third dimension. One could say that the intrinsic characteristics of the Probe space unveil the inevitable features of a photographic image. I can't say I ran into obstacles. Working in Probe was perhaps more a reminder that however much I try to visualize a work beforehand, it is never the same as when it physically takes shape.

Even in this work, where it was all about analysing the specific characteristics of this space and project Probe. Reality as it eventually turned out to be, was still different than I imagined and had to be altered to fit my initial idea. Being an online project, in Probe the end result of your work only exists in nine photographs. So where I normally create a sculpture or installation, now making the installation was only the start.

To finish the work, I had to make an image of the installation. An installation of fountains taking their last breath.

A sculpture or installation is besides a visual also a physical experience. You can walk around it to discover and explore it, take a closer look or walk away from it. The nine fixed angles from where the pictures are taken, define your point of view. Going from an installation to an image, being able only to show those nine fixed perspectives, feels like something is missing out. Very different. And not so different. For a big exhibition space it is evident that you can only make the deadline if you organize many things some time before.

Working with the context of a situation or space often asks, next to the conceptual part, for practical and physical preparations. In the case of Probe that simply asks less time and is easier to manage. The elements of improvisation, doubt, adjustment, more improvisation, coincidence, desperation, blind opportunism and, in the end, sheer victory remain the same.

A world that could be real: A moment of apocalypse being followed by tribal wars fought by the last survivors. The space of Probe possibly being one of the last places of refuge. A world that could be an art installation: The exhibition space of Probe being turned into a total installation of an artist who wanted to create a moment of apocalypse being followed by tribal wars fought by the last survivors. Sand is heavy. Cement can withdraw a lot of water.

Smoke makes it hard for a camera to focus. Probe, though unimposing in scale, is confronting. This is largely due to the form in which the Probe platform serves information. This left me with a range of questions and challenges to consider with regards to proximity, perspective, immersion and modes of reception.

The given restrictions—limited number of images, fixed perspectives, web site specific context—offer a reflexive frame for exploration, which I enjoy. I came to Probe with an interest in exploring the essay as a form of articulation textual, visual and 3D to pose questions about how we receive and digest content. The essay form interests me as a site for extended thought—a space to suspend an increasing thirst for immediacy and clarity in our habitual and somewhat perfunctory approaches to reading and watching. I'm fascinated by the contingent nature of meaning and the way in which particular forms can and will affect its reception.

The aim within Probe was to build a sense of tension and dynamism—much like the exchanges that can occur between 'the subject' and 'the object'. It was also important to explore various forms of presentation that would reflect this sense of destabilisation; a state I believe to be very productive, though implicitly fragile. Due to the nature of my inquiry, it was challenging to identify and select specific content that would enable the work. Rob: Very different. I am either used to working 1 on 1, on the spot and with live people or presenting public art proposals in a scale model.

Now I was the work, on the spot in a scale model. It had to be true. Our first idea was fixed, to create the illusion of humans merging with the space or rather becoming space. We painted the floor skincolour, tried several options, got stuck and rethought the entire concept…. Ellen: …then the most simple solution. One sculpture in the middle of the space; the body of Rob. Not a female body; the gaze of the observer gets intoxicated with unwanted layers of meaning. Rob: All that is written above was a challenge, how to work towards a real, artwork in a scale context, how to create real energy in puzzling circumstances… Ellen finally, after we all —Suze May, me and Ellen— worked and grew into the situation, condensed it into the right ingredients in order to have a good artwork come into existence.

It all worked perfect. As a two dimensional painting all colour-aspects of the body are amplified. As a three-dimensional sculpture all details of the body are amplified. By means of the skin coloured floor the body becomes a universal example of a male-body.

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Or maybe a typical body of this time and day on this spot on the earth. Very unreal. It was quite difficult to relate to the space, since its size is scaled down 1 to 4. Somehow this had an obstructive effect on me. In regular museum-like spaces one has to develop an installation while one is a bit impressed by the overwhelming volume of the space. Things can be monumental and at the same time things are shown in detail. Here even something in detail will turn out to be a rough version of the envisioned piece of work. The 1 to 1 scale does in fact not exist, since every bit of physical material will appear scaled up in the online representation: a puzzling situation to picture and incorporate this effect.

I wanted to create a monumental room divider which would turn out to have no fixed appearance. From every point of view it should reveal an unexpected change. This separation wall had to have a certain amount of transparancy. The folly is double sided: the reverse side is self-evidently the mirrored version of the front side. The piece obviously resembles a house, but only as though it was real: one immediately can see through in both ways: literally and in the figurative sence. Quite a lot.

Most of them had to do with the first plan that I had, and which I had to leave, for it would not function within the registration concept of Probe, considering the nine fixed points of view. The other thing was not really an obstacle but a lot of calculating. For more information on the workproces please see 'Aantekeningen uit multo-werkdagboeken' at the very bottom of this page in Dutch.

Strange enough, working on this was pretty much the same as making other installations. I started to make the space in my studio, because I wanted to make some test photos without having the pressure of a deadline. I ended up transporting everything to Arnhem to install it in the actual Probe space. Just like I did with other, real-sized installations. Moving all that stuff around constructing the space, deconstructing it for transportation and constructing it again felt odd, since the audience just gets images on the internet, that could have been made anywhere.

Maybe I could have done the whole thing in my studio, but I think the physicality of transportation, of working somewhere else and meeting the Probe-staff, made the project more real to me. I don't work with strong concepts, I need the process for direction. Limitations of time, material, trust and energy determine the final shape and content of the work.

The virtual part of Probe was the hard part for me, since there are less limitations in a virtual world. Anyway, I had some fixed elements that I wanted to try, like the candlelight and objects floating in the air, things that are hard to realize in an exhibition space that can be entered by the audience. Making the scale issue the theme of the work or trying to hide the fact that the space doesn't have the size it pretends to have, both didn't seem right to me. In the first case you would be dealing with a problem that is trivial since the spectator is not physically present in the space and therefore cannot really experience that scale-game.

In the second case I wouldn't feel comfortable with knowing things that the spectator cannot know. The whole making becomes a rhetorical act in that case: just keeping up an illusion for others instead of trying to find a personal urge during the making. Adding the paper moths somehow solved the problem. It made the photographs and the motive moths flying around a candle in a deserted room they show more important than the space that's reproduced and the question whether that space is real or not. During the making of a painting on the walls of an exhibition space, several exposures are shot at different moments during this process, physically building up an image on one negative.

In Probe I used the full wall surface of a space for the first time. I decided to lend the standard method of documenting of Probe as the grid for my work: At the nine fixed points of view I cut holes in the walls. Behind each hole, a camera was positioned to simultaneously photograph the space. My paintings extend in three-dimensional space by playing with the rules of anamorphic perspectives. These nine resulting images describe the whole space, and so make it possible to follow the constructed perspectives shift from image to image.

Finally the process ends in a completely blackened space. Ever since I learned about Probe I have had returning thoughts about how I would work in a space like that, it really spoke to my imagination. Probe offered me the possibility to make an invasive intervention to the building that would have been hard or impossible in an actual exhibition space.

It was a pleasure since nearly all is possible. Due to its scale Probe represents a playground and a testing site for long harboured ideas. This did not make it easy to choose. It especially made me realise the importants of movement; the observers navigation through space and the slow groping view in relation to my work. The same goes for the dynamics of zooming in and out, particular to each individuals pace and style. I wanted to indulge in the luxury of creating something I would not consider in a real size situation. Testing ideas that have been haunting me but never came to be.

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It worked very well. It is to be continued Possibly a part two, since I have several options left. It took me longer then expected to find the right amount of tension between the images, captured as they are in each frame. That was a surprise seeing that images behaved very different from what I expected. It was hard to imagine how it would turn out on this small scale, seeing that I wanted to work with the entire space: floor, ceiling and walls. Furthermore, Probe lacks references; there are no sockets or heating pipes which indicate scale. This made the choice of tape width the lines are done in tape difficult.

I wanted to deny the walls of the space in order to dissolve and replace them by a fictitious room. Each viewer will be stimulated to complete this fictional space as they see fit. The floor and the ceiling were challenging, their perspective views differ a lot from the walls. A similar challenge lay in the acceptance of the baseboards. In both cases the answer was to embrace them instead of denying them. For me it was an excellent chance to experiment with a relatively large space and try to make a very large installation.

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