infomatique

FUGATTO BY NVIDIA – FOUNDATIONAL GENERATIVE AUDIO TRANSFORMER OPUS 1

December 5, 2024 by infomatique

Fugatto, short for Foundational Generative Audio Transformer Opus 1, is a cutting-edge AI model developed by NVIDIA that’s making waves in the world of audio generation and manipulation. It’s being hailed as the “world’s most flexible sound machine” due to its impressive capabilities.

Key Features and Capabilities

Text-to-Audio Generation: Fugatto can generate novel audio snippets from text prompts alone. Imagine typing “a calming melody with a flute and harp” and having the AI compose it for you.
Audio Transformation: It allows for intricate manipulation of existing audio. You can add or remove instruments, change the emotion or accent of a voice, or even make a saxophone sound like it’s meowing.
Multimodal Input: Fugatto accepts both text and audio as input, allowing for a wide range of creative applications. You can provide a song and a text prompt like “make this sound more upbeat” to guide the transformation.
High-Quality Output: It’s designed to produce high-fidelity audio, making it suitable for professional music production and other demanding applications.
Multilingual and Multi-Accent: Developed by a diverse team, Fugatto boasts strong multilingual and multi-accent capabilities, allowing for nuanced voice generation and transformation across languages.
Technical Details

Foundational Model: Fugatto is a foundational model, meaning it’s trained on a massive dataset of audio and can be adapted to various downstream tasks.
Transformer Architecture: It leverages the powerful transformer architecture, which has proven successful in natural language processing and is now revolutionizing audio processing.
Large-Scale Training: The full version of Fugatto was trained on NVIDIA DGX systems equipped with H100 Tensor Core GPUs, allowing it to learn complex patterns and relationships in audio data.
Potential Applications

The potential applications of Fugatto are vast and span across various industries:

Music Production: Composers and producers can use it to generate new ideas, create variations of existing songs, and explore uncharted sonic territories.
Film and Game Sound Design: Fugatto can generate realistic sound effects, immersive soundscapes, and even voiceovers with specific emotions and accents.
Content Creation: Podcasters, YouTubers, and other content creators can use it to enhance audio quality, generate jingles, or even create AI-powered voiceovers.
Accessibility: Fugatto could be used to create audio descriptions for visually impaired individuals or to generate personalized soundscapes for therapeutic purposes.
Impact and Significance

Fugatto represents a significant advancement in AI audio technology. Its flexibility and capabilities have the potential to democratize music production, revolutionize sound design, and redefine how we interact with audio. By making complex audio manipulation more accessible, Fugatto could empower artists, creators, and even everyday users to express themselves in new and exciting ways.

Limitations and Ethical Considerations

While Fugatto offers incredible potential, it’s important to acknowledge the potential limitations and ethical considerations:

Data Bias: Like any AI model, Fugatto is susceptible to biases present in its training data. This could lead to the generation of audio that reflects or amplifies societal stereotypes.
Copyright Issues: The use of copyrighted material in training data and the ownership of AI-generated audio raise complex legal and ethical questions.
Misinformation and Deepfakes: The ability to generate realistic speech and audio raises concerns about the potential for misuse, such as creating deepfakes or spreading misinformation.
It’s crucial for developers and users to be mindful of these challenges and work towards responsible development and deployment of AI audio technologies like Fugatto.

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80 RANDOM IMAGES OF MOUNT ST LAWRENCE CEMETERY IN LIMERICK – THERE ARE ABOUT SEVENTY THOUSAND BURIED HERE

December 3, 2024 by infomatique

2022 LEGACY PHOTO COLLECTION

Patrick Sarsfield: Remembered in Limerick, Buried in Belgium

Mount Saint Lawrence Cemetery in Limerick holds a prominent memorial to Patrick Sarsfield, a key figure in Irish Jacobite history. However, it’s crucial to note that Sarsfield himself is not buried there. While the monument serves as a focal point for commemorating his contribution to Irish history, his remains lie hundreds of miles away in Huy, Belgium.

Sarsfield, known as “Patrick Sarsfield, Earl of Lucan,” was a leading Jacobite general during the Williamite War in Ireland (1689-1691). He is best remembered for his courageous defense of Limerick and his negotiation of the Treaty of Limerick, which ultimately led to the Flight of the Wild Geese, the exodus of Irish Jacobite soldiers to continental Europe.

Mortally wounded at the Battle of Landen in 1693, Sarsfield was taken to Huy, where he died and was buried in the grounds of St. Martin’s Church. His grave is believed to be unmarked.

The Search for Sarsfield’s Remains

For centuries, the exact location of Sarsfield’s burial remained unknown. However, recent research led by Dr. Loïc Guyon has shed new light on this historical mystery. Dr. Guyon has identified the likely location of the graveyard associated with the now-demolished St. Martin’s Church. Plans are underway for an archaeological dig at the site to search for Sarsfield’s remains. If found and confirmed, there is a possibility they could be repatriated to Ireland.

The Memorial at Mount Saint Lawrence

Despite Sarsfield’s burial in Belgium, the memorial at Mount Saint Lawrence Cemetery serves as an important reminder of his legacy in Limerick and Ireland. It stands as a testament to his bravery, military skill, and dedication to the Jacobite cause.

Mount Saint Lawrence Cemetery is located on Mulgrave Street in Limerick City, Ireland. It is the largest cemetery in Limerick and the final resting place of many of the city’s most prominent citizens. The cemetery is named after Saint Lawrence, a deacon in the early Christian church who was martyred in 258 AD. Lawrence was known for his charity work and for his defiance of the Roman authorities. He is the patron saint of deacons, cooks, and librarians.

The cemetery was opened in 1849 and was originally intended to be a non-denominational burial ground. However, it soon became predominantly Catholic. The location of the cemetery was chosen because it was on the outskirts of the city at the time and because it was on elevated ground, which was thought to be healthier.

The location of graves within the cemetery can indicate the status or importance of those buried there. For example, the most prominent graves are located in the older part of the cemetery, which is closer to the entrance. These graves are often larger and more elaborate than those in the newer part of the cemetery. Some of the most notable people buried in Mount Saint Lawrence Cemetery include:

Michael Hogan, the Bard of Thomond, a 19th-century poet.
Jim Kemmy, a socialist politician and historian.

Someone from abroad might visit Mount Saint Lawrence Cemetery for a number of reasons. They may have ancestors buried there, or they may be interested in the history of Limerick City. The cemetery is also a beautiful and peaceful place to visit.

The graves and burial history at Mount Saint Lawrence Cemetery are well documented. The cemetery has a searchable online database of burial records, and there are also a number of books and articles available on the history of the cemetery.

The 304 bus does indeed serve Mulgrave Street, with a stop very close to the main entrance of Mount Saint Lawrence Cemetery. It generally runs about every 20 minutes but I have found it to be unreliable . However, it is a short walk from the city centre.

Mount Saint Lawrence Cemetery is not associated with a church or parish because it was originally intended to be a non-denominational burial ground. However, the cemetery is now managed by Limerick City and County Council.

Here are some additional details about Mount Saint Lawrence Cemetery:

The cemetery covers an area of 18 hectares.
There are over 70,000 people buried in the cemetery.
The cemetery is open to the public from 9am to 4pm, Monday to Friday.

Leica Q2 Digital Camera Black (19051) (Black)

47.3MP Full-Frame CMOS Sensor and Maestro II Processor
Summilux 28mm f/1.7 ASPH. Lens
High-resolution 3.68MP (1280 x 960) OLED electronic viewfinder provides a clear and realistic means for eye-level viewing. Its high refresh rate virtually eliminates lag and an updated eye sensor provides faster automatic switching between the EVF and the rear LCD.
Rear 3.0″ 1.04m-dot LCD features a touchscreen design for intuitive navigation and playback, as well as the ability to touch to focus.
Lightweight magnesium alloy body is dust and moisture sealed (IP52-rated) for use in harsh environmental conditions.

ARCHERS GARAGE AS IT IS TODAY

December 3, 2024 by infomatique

Archer’s Garage, located at the corner of Fenian Street and Sandwith Street Upper in Dublin, has a rich and somewhat controversial history.

Original Building (1946)

The original Archer’s Garage was constructed in 1946. It was designed by Billy Baird of Kaye Parry Ross Hendy architects for Richard Archer, the first agent for Ford motorcars in Ireland. This building was considered groundbreaking for its time, as it was the first in Ireland to be built with reinforced concrete and fitted with fluorescent lighting.

The design was a striking example of Art Deco architecture, featuring a distinctive curved corner tower with a flagpole and projecting fins for signage. This tower served as a visual anchor for the building, emphasising its presence at the intersection of two streets. The garage’s design also incorporated functional elements, such as an open ground-level forecourt that allowed for easy access of vehicles.

Illegal Demolition and Reconstruction (1999-2004)

In 1999, the building, despite being a listed structure, was illegally demolished over a June bank holiday weekend by property developer Noel O’Callaghan. This act sparked public outrage and led to legal action by Dublin City Council.

The developer was ultimately forced to reconstruct the building as a condition of the planning permission for a new office and residential development on the site. The reconstruction was completed in 2004.

Controversy Surrounding the Reconstruction

While the reconstruction aimed to replicate the original structure, it has been criticised for being a poor imitation. Many argue that the replacement lacks the fine details and craftsmanship of the original Art Deco building. Some of the specific criticisms include:

Loss of architectural detail: The new building is seen as a simplified version of the original, lacking the nuanced design elements and intricate details that defined the Art Deco style.
Materials and construction quality: Concerns have been raised about the quality of materials used in the reconstruction and whether they accurately reflect the original construction.
Overall aesthetic impact: Many feel that the replacement building fails to capture the spirit and elegance of the original, resulting in a diminished visual impact.
The controversy surrounding Archer’s Garage highlights the challenges of reconstructing historic buildings. While the replacement structure may be a faithful replica in terms of its overall form, it arguably falls short in replicating the intangible qualities that made the original building so special.

Significance and Context

The story of Archer’s Garage is significant for several reasons:

Architectural heritage: It underscores the importance of preserving architectural heritage, particularly in a city like Dublin where relatively few Art Deco buildings remain intact.
Planning and development: The case led to changes in Irish planning law, with the introduction of stricter penalties for illegal demolition of protected structures.
Public awareness: It raised public awareness about the value of architectural heritage and the need for responsible development practices.
Archer’s Garage serves as a reminder of the ongoing tension between preservation and development, and the challenges of balancing these competing interests in a rapidly changing urban environment.

If you’d like to delve deeper into this topic, I recommend exploring the following resources:

Archiseek: This website provides detailed information about Irish architecture, including a page dedicated to Archer’s Garage.
Come Here To Me: This blog features an article that discusses the history of Archer’s Garage and the controversy surrounding its demolition and reconstruction.
Dublin City Council website: You can find information about planning regulations and listed buildings in Dublin on the official website.

Info Box

Archer’s Garage, located at the corner of Fenian Street and Sandwith Street Upper in Dublin, has a rich and somewhat controversial history.
Original Building (1946)
The original Archer’s Garage was constructed in 1946. It was designed by Billy Baird of Kaye Parry Ross Hendy architects for Richard Archer, the first agent for Ford motorcars in Ireland. This building was considered groundbreaking for its time, as it was the first in Ireland to be built with reinforced concrete and fitted with fluorescent lighting.
The design was a striking example of Art Deco architecture, featuring a distinctive curved corner tower with a flagpole and projecting fins for signage. This tower served as a visual anchor for the building, emphasising its presence at the intersection of two streets. The garage’s design also incorporated functional elements, such as an open ground-level forecourt that allowed for easy access of vehicles.
Illegal Demolition and Reconstruction (1999-2004)
In 1999, the building, despite being a listed structure, was illegally demolished over a June bank holiday weekend by property developer Noel O’Callaghan. This act sparked public outrage and led to legal action by Dublin City Council.
The developer was ultimately forced to reconstruct the building as a condition of the planning permission for a new office and residential development on the site. The reconstruction was completed in 2004.
Controversy Surrounding the Reconstruction
While the reconstruction aimed to replicate the original structure, it has been criticised for being a poor imitation. Many argue that the replacement lacks the fine details and craftsmanship of the original Art Deco building. Some of the specific criticisms include:
Loss of architectural detail: The new building is seen as a simplified version of the original, lacking the nuanced design elements and intricate details that defined the Art Deco style.
Materials and construction quality: Concerns have been raised about the quality of materials used in the reconstruction and whether they accurately reflect the original construction.
Overall aesthetic impact: Many feel that the replacement building fails to capture the spirit and elegance of the original, resulting in a diminished visual impact.
The controversy surrounding Archer’s Garage highlights the challenges of reconstructing historic buildings. While the replacement structure may be a faithful replica in terms of its overall form, it arguably falls short in replicating the intangible qualities that made the original building so special.
Significance and Context
The story of Archer’s Garage is significant for several reasons:
Architectural heritage: It underscores the importance of preserving architectural heritage, particularly in a city like Dublin where relatively few Art Deco buildings remain intact.
Planning and development: The case led to changes in Irish planning law, with the introduction of stricter penalties for illegal demolition of protected structures.
Public awareness: It raised public awareness about the value of architectural heritage and the need for responsible development practices.
Archer’s Garage serves as a reminder of the ongoing tension between preservation and development, and the challenges of balancing these competing interests in a rapidly changing urban environment.
If you’d like to delve deeper into this topic, I recommend exploring the following resources:
Archiseek: This website provides detailed information about Irish architecture, including a page dedicated to Archer’s Garage.
Come Here To Me: This blog features an article that discusses the history of Archer’s Garage and the controversy surrounding its demolition and reconstruction.
Dublin City Council website: You can find information about planning regulations and listed buildings in Dublin on the official website.