![]() ![]() Max Tundra’s main instrument is the Amiga 500, an early mass-market home computer whose reputation today rests largely on its capabilities as a gaming console – including its great sound, which made it ideal for Tundra’s music-making. Firstly, Exchange is clearly a pre-Information Age artifact. There are two crucial differences between what Tundra represents and what hyperpop represents. Pop is in the middle of a similar moment right now, and both hyperpop and the contemporary strain of rap-as-rock-as-pop represented by the likes of Post Malone, Lil Peep, and XXXTentacion rejoice in the idea of a world where anything is fair game for cannibalization. If you’re going to call this album hyperpop, you could lob the same term at Mouse On Mars’ Idiology, Sufjan Stevens’ Enjoy Your Rabbit, the Soft Pink Truth’s Do You Party?, Señor Coconut’s El Gran Baile, or Gorillaz’s self-titled debut. Mastered By Guy At The Exchange was born of this moment: an album that takes these recombinant styles and combines them even further. Everyone seemed to suddenly realize the Beach Boys were badass. Stereolab were turning lounge music into krautrock, or vice versa. The puff and snap of IDM, the frenetic rhythms of drum ‘n’ bass, and the pops and clicks of microhouse were expanding the possibilities of drum programming. Pop and mainstream rap were biting from bhangra, dark ’70s funk, and rave music, with producers like Timbaland, Missy Elliott, Organized Noize, and the Neptunes making music as interesting as anything from the underground. Tokyo’s Shibuya district, home to some of the best-stocked record shops in the world, spawned retro-flipping acts like Pizzicato Five, Cornelius, and Kahimi Karie. ![]() The Avalanches, DJ Shadow, and Jan Jelinek were scaring the shit out of everyone by making records entirely out of samples. ![]() The late ’90s and early 2000s comprised one of pop’s most interesting post-genre moments. But if you’re going to call this hyperpop, it’s a good idea to step back and look at everything else that was being made around the turn of the millennium. It’s pop, it’s prog, it’s electronic, and it’s absolutely brain-frying on a first listen before its twists and turns start to make a skewed version of sense on subsequent spins. This is an album that spits out ideas at an overwhelming rate, cramming short songs like the 1:40 “Lights” and the 1:56 “Merman” with a rock opera’s worth of sections, solos, beat-switches, hooks, asides, and interludes. Listening to 2002’s Mastered By Guy At The Exchange - released 20 years ago today - it’s easy to understand why Cook was so taken with Tundra’s work. Cook seems to be on a mission to spread the Tundra gospel past its small and cultish following of music-crit types, giving his “Lights” a place of honor when Spotify asked him to curate its inaugural “Hyperpop” playlist, remixing his tracks and being remixed by Tundra in turn. Cook, whose PC Music productions did more than anything else to codify the hyperpop genre. The London musician born Ben Jacobs hasn’t released anything as Tundra since 2008, but his name has been popping up a lot lately, usually in connection with fellow Londoner A.G. ![]() If you’re reading this, you probably know that Max Tundra has a good claim to being the Daddy of Hyperpop. ![]()
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![]() ![]() The perfect quick game for friends and family, you'll find yourself hooked for hours of play! Bury your opponent in a mound of dirt, or assail him with a barrage of bullets. Pocket Tanks is the fast-paced artillery game that is simple to learn, and fun to master. 'The Ultimate One-on-One Artillery Game' â Now with cross-platform ONLINE Play! Welch Author of DX-Ball & Scorched Tanks Millions of downloads, over a decade of fun! Thanks to all who have supported BlitWise over the years. Please join me in my quest to make Pocket Tanks a classic artillery game that stands the test of time. I created Pocket Tanks in 2001, and thanks to the many loyal fans, it is still in active development to this very day. The Free version also includes WiFi AND Online play, to challenge your friends! Upgrade in App to Deluxe and access: - 100 brand new weapons (140 total with all free packs) - Jump Jets for moving your tank around - Bouncy Dirt for creating reflective terrain - Digger for tunneling your tank underground - Support for weapon expansion packs, both paid and FREE! - Note from the author: I have been writing artillery games since 1993. Download Pocket Tanks COMPLETELY FREE, and learn the ropes with 40 exciting weapons. Battle your friends around the world at your own pace. Pocket Tanks - Free Version 40 weapons Features: - Large scrolling battlefields - WiFi real-time matches on a local network - Online, turn based play. Select your angle, power, and FIRE! Your arsenal of unique and useful weapons includes: Napalm, Firecracker, Skipper, Cruiser, Dirt Mover, and dozens more! This is the light-hearted game of heavy artillery for everyone. Experience the thrill of launching volley after volley of powerful and fun weapons across the battlefield, using very simple controls. Visit the Weapon Shop before battle to arm yourself for the struggle, or try the Target Practice mode to learn all the weapons and the best tactics to win. 'The Ultimate One-on-One Artillery Game' â Now with cross-platform WiFi and Online Play! Pocket Tanks is the fast-paced artillery game that is simple to learn, and fun to master. ![]() ![]() ![]() President of the Board of Trustees of the State Museum Costopoulos Foundation,Īthens, till the end of 2014 (1992-2014). From 1992 to October 2014 she wasĬurator of the Alpha Bank Art Collection. Venice Biennale in 2005, and the Director of the 3rd,Ĥth and the 5th Thessaloniki Biennale of ContemporaryĪrt (2011-2015). The 23rd Biennale of Sao Paulo in 1996 and at the 51st She worked from 1988 to 1992 at theĮuropean Cultural Centre of Delphi as a Special Advisorįor visual arts. Studied Museology at the Ecole du Louvre. University of Athens, as well as History and Philosophy Museum of Contemporary Art, Athens, since 2014.īorn in Corfu, she studied French Literature at the Katerina Koskina is and Art Historian-Museologist andĬurator of exhibitions. He has been decorated asĬhevalier dans l’Ordre des Arts et des Lettres (France). (a polymorphic installation on the origins and the future Installation, 2012), “Regards sur la scène grecqueĬontemporaine” (Geneva 2013), “Frame– Light – Motion” Tribute to Franz Kafka, 2011) “Rêv(e)olution” (a narrative Research project which included 16 participatingĪthenian museums, 2010-2011), “Kafka Zone” (a special (a polymorphic installation, 2009), “Hole” (a thematic Of exhibitions and installations such as: “Space Story” He has designed, curated and presented a number The Athens International Film Festival and in 2011 theĪthens Open Air Film Festival and directed them untilĢ016. He was born in Heraklion, Crete, studied cinema andĪrt history in Athens and Paris. In 2016 he was appointedĪrtistic Director of the Thessaloniki International Filmįestival and Thessaloniki Documentary Festival. Orestis Andreadakis is festival organizer, independentĬurator, writer and film critic. George Drivas’s work is part of Greece’s National Netherlands, 2003 and “Zebra International Poetry Film U.K., 2004 Poetry International Festival, Rotterdam, – International Arts and Technology Festival”, Glasgow, Media Art Forum, XXVII Moscow International Filmįestival, Moscow, Russia, 2006 “Synch Cinema”, Synchĭigital Arts Festival, Athens, Greece, 2005 “Machinista In Present Tense”, National Museum of ContemporaryĪrt, Athens, Greece, 2007-2008 “Les Jeunes Cinéastesĭ’aujourd’hui”, Centre Pompidou, Paris, France, 2007 ![]() Space 798, Beijing, China, 2008 “Young Greek Artists – Thessaloniki, Greece, 2009 “Transexperiences Greece”, Wave”, Thessaloniki International Film Festival, Independent Film Festival, Paris, France, 2010 “Digital Internationales: New Cinema and Contemporary Art”,Ĭentre Pompidou, Paris, France “Polyglossia”, OnassisĬultural Centre, Athens, Greece, 2011 “ECU”, European Paulo, Βrazil, 2012 “Annual Exhibition”, Center onĬontemporary Art, Seattle, USA, 2012 “Les Rencontres International Festival, FIESP Cultural Center, Sao Taipei City, Taiwan, 2012 “FILE”, Electronic Language National Museum of Contemporary Art, Athens, Greece,Ģ013 “Melancholy in Progress”, Hong-Gah Museum, Germany, 2014 «Depression Era», Benaki Museum,Īthens, Greece, 2014 “Art Projections”, Thessalonikiīiennale of Contemporary Art, 2013 “Hybrid Stories”, Past – past future”, Transmediale Festival, Berlin, Nouveau cinéma, Montreal, Canada, 2015 “future George Drivas’s work has been featured as a solo show inĪnnexM / Megaron, The Athens Concert Hall (2020), EMST, National Museum of Contemporary Art, Athens (20), Galleria Nazionale (GNAM), Rome, Italy, 2017, as a tribute to him at Thessaloniki International Film Festival (2020), the Lumen Quarterly Festival, Beijing, China (2017/18) and the Athens’s International Film Festival, (2014) and as part of a group exhibition or festival among others in “Imagined Communities” , 21 st Biennial of Contemporary Art_Videobrasil , São Paulo, Brazil (2019-20) , “Resilient Futures”, Contemporary Art Center of Thessaloniki (CACT, 2018), “Antidoron”, “Documenta 14”, Kassel, Germany, 2017 “As Rights Go By”, Q21 International, MuseumsQuartier Vienna, Austria, 2016 Festival du International Film Festival, Moscow, Russia, 2006 andĢnd prize at Zebra International Poetry Film Festival, Museum of Contemporary Art, Thessaloniki, Greece,Ģ009, 2nd prize at VII Media Art Forum, XXVII Moscow He is the recipient of numerous awards namelyĪmong others, Special Mention at “Strange Screen”,Įxperimental Film and Video Festival, Macedonian In Film and Media studies at the Freie Universitaet inīerlin. University of Athens and then he completed his MA ![]() Political Science at the National and Kapodistrian George Drivas was born in Athens, Greece. ![]() ![]() Be sure to Manage Devices and set up the correct phone number as your default. Please follow the Add a New Device instructions. This additional device could be a desk/landline, tablet or trusted family/friend phone number. It is strongly recommended that you add an additional device to your MFA account to serve as a backup. Basic cell phones with and without text message capabilities.What devices are supported? UCSC supports a range of electronic devices including: In order to avoid conflict with the launch of the UCPath project, all users must be enrolled in MFA by the deadline in October 2019. In order to access the UCPath system, it requires Multi-Factor Authentication (MFA). UCSC is also scheduled to begin using the new UCPath system in late 2019. New technology and hacking techniques combined with the limited pool of passwords most people use for multiple accounts increases vulnerability. They can be stolen, “phished”, guessed, and hacked. Why do I need this? Passwords are becoming increasingly easy to compromise. Duo Security is the vendor facilitating the ‘possession’ half of MFA at UCSC. At UCSC, MFA will combine CruzID and Gold password with cell phone, landline phone, tablet, hardware token or one time use passcode. ![]() MFA combines knowledge (something you know) with possession (something you have). What is Multi-Factor Authentication (MFA)? Multi-Factor Authentication (MFA) is a method of system access control in which a user is only granted authorization after successfully providing a second authentication method beyond the basic username/password. How do I receive a phone call to my backup device?.When I enter in ‘push’ into the DC VPN ‘Second Password’ field nothing happens?.I’m locked out of Duo | MFA | DC VPN, what should I do?.I use DC VPN occasionally, but do not see the MFA link under Advanced in CruzID Manager.When it’s time for my group to enroll in DUO, do I have to re-enroll? I’m already enrolled in MFA for DC-VPN.Authentication instructions for Cisco An圜onnect DC VPN.I am getting an Invalid Certificate (iPhone) / No Internet Connection (Android) error when I try to MFA on my phone.How do I manage cookies for my browser and how do they affect Single Sign On(SSO)?.What are cookies? How do I manage cookies for my browser and how do they affect the remember me for 14 days function?.Sometimes the Duo authenticate window (iFrame) does not show up.I’m trying to use the Call Me (phone call) method to authenticate but can’t seem to do so, even though I followed the prompt.My batch of text passcodes (SMS) aren’t working.How do I get Duo Mobile notifications to work again? I have a new phone and the Duo Mobile app stopped working.I was automatically sent a Push/Phone call and now I keep getting sent to the same page over and over again.I started enrollment using the Duo Mobile app, but never scanned the QR image.I keep getting kicked out of CruzID Manager.I am having trouble installing the Duo Mobile app on my smartphone.If there is an unexpected outage, how do I MFA?.I added the Remember Me for 14 Days feature.I don't understand when I do (or do not) have to MFA?.If I authenticate using my personal phone (smart or cell), will I be charged?.I already use Duo for an application, will I need to re-enroll?.What precautions should I take when using MFA at a shared computer such as at the library?.How do I change/remove/add a new device?. ![]() Whom do I contact for help if I have problems authenticating?.I want to change/rename/manage my MFA default device.Now I've decided that I want to use the Duo app on my phone. I enrolled my smart phone only as a phone.I have a YubiKey, can I use this instead of a Duo token?.Where can I obtain a Duo hardware token?.Will I be able to receive a phone call/text message? How do text message passcodes (SMS) work?.Can I MFA without a data and/or text plan for my device?.I don't want to install the Duo Mobile App! Can I enroll my smartphone without doing this?.How do I find/download the free Duo Mobile App?.There are so many authentication methods, how do I know which one to choose?.How many devices can I set up? Can I choose them all for multiple backup options.What methods can I use to authenticate?.Why isn't "X" feature offered? What is the comprehensive list of features offered by Duo Security?. ![]()
![]() They're serving under the command of General Serien. Alexandra wants to retrieve an artifact known as the Coral Heart from Vivec's Antlers. Now I must enter Ash Mountain's caldera, defeat Balreth, and imprison him again.Ĭaptain Noris came to Vivec's Antlers to defend against an incursion by Alexandra Conele of the Covenant. Using the information I learned from Mavos at Othrenis, we're going to imprison the Brother of Strife again. They were following the Brother of Strife, Balreth. ![]() Garyn Indoril led a force of Pact soldiers to Ash Mountain. To help me, he's going to perform a ritual and show me a vision of the past. Mavos's spirit can't remember how he bound Balreth in the original ceremony. I've awakened the spirit of an ancient Dark Elf scribe named Mavos Siloreth. He's hoping to contact the spirit of Mavos Siloreth, an ancient Dunmer scribe buried in the area. He wants to know how to rebind the Brother of Strife. ![]() Tanval's ritual may be our only hope to end the assault.Īn Argonian named Onuja has come to Othrenis. Now they're threatening to take the city from within its walls. ![]() Tanval Indoril asked me to help slow the Covenant's siege of Davon's Watch.Ĭovenant forces have scaled the walls of Davon's Watch. There are 16 Zone Story Quests in Stonefalls.Ī Nord commander named Holgunn asked me to help defend Davon's Watch. Completing these quests can award you with skill points, experience, gold, and gear. Zone Story Quests are the main story arc for the zone. ![]() ![]() ![]() Every day I go back and forth from wanting to make “this” kind of video or “that” kind of video. ![]() While I might run for the hills and only shoot color film stock and use bright, vibrant imagery, I refuse to not shoot what I want to shoot for the sake of the big “A” (that’s what I’m going to call it). I get it, but this is where we’re at, I suppose. The black and white thing really bugs me, though. Third, I used songs I didn’t have a license to so I received a copyright claim, and I’m pretty sure this doesn’t help your chances of Google sharing your video. Black and white photography doesn’t perform near as well as color on YouTube or Instagram. Second, the featured thumbnail and images in the video are black and white. Like anything with YouTube, I can only be so sure of what helps and doesn’t help the algorithm -but I don’t think that helped much. Usually, the traffic I get from the Instagram posts boosts the initial engagement and traffic to the videos. First, the moment I hit “Public” on this video and shared my accompanying Instagram post linking to the video, Instagram crashed for almost the whole day. So, why did it perform the worst? I think there are three reasons. While most of my videos are presented as a “here’s me doing a thing” structure with pretty music placed over the footage, I shot this one with a lot of intent behind most of the shots. It actually has a cohesive structure, with a goal, that has an ending. This is easily my favorite video I made this year. This video might be a perfect demonstration of why me and the algorithm don’t get along. However, it goes to show that my biggest bumps in traffic are from uploads, not the algorithm giving the channel a boost at different times and different days. YouTube audience analytics.Īs you can see, once I started uploading again-big surprise -the audience came back! A mix between new and old viewers started tuning back in pretty much right when I upload, every time. So, it still feels like I worked on the channel the whole year. So, this begs the question, why am I even talking about YouTube because clearly I’m not a “YouTuber.” Well, while I went over six months between uploading, I still worked on the YouTube videos in that time, I just didn’t upload anything. To start the year, I posted one video in January, then nothing until August. While one of the key principals to growth on the YouTube platform is sticking to a consistent upload schedule, I couldn’t have been more inconsistent with my uploading. Again, incredibly fortunate for the subscriber count. Then, another YouTuber released an entire video highlighting my channel, with the intention of urging his subscribers to check out my channel. I guess influencers are called influencers for a reason, because that gave me almost a 1,000 subscriber boost. The first, a bigger YouTuber happened to share my Instagram post (that was linked to my recent video) on his Stories, urging his followers to check out my channel. There were two major boosts to the channel this year. Compared to 2020 (the first year for the channel), these stats are much “better.” Yesterday, I received my “2021 Year in Review” email from YouTube/Google that provides a quick wrap-up on my analytics for the whole year.įor 2021, the channel racked up about 400,000 minutes of watch time and 100,000 total views. In total this year, I uploaded nine videos. While I didn’t really shift the types of videos I was making, I still tried to appease the algorithm-somewhat -to have high average watch time and retention.ĭid I succeed? Did the algorithm win the battle? Does any of this matter? Is anyone reading this?Īs of writing this article, my channel currently has 6,066 subscribers. So, today, we’re going to talk about what I learned from this past year while dedicating around 30% of my energy to actual time spent working on videos while giving 90% of my energy obsessing over analytics. Which YouTube creator do I identify with? Unfortunately, the latter. The other type of YouTube creator is the one who posts their videos and spends the next 24-72 hours obsessively looking at YouTube studio, carefully watching the “Ranking by Views” and the “Average View Duration,” as well as all the other metrics of which YouTube provides. They hope for the best, but accept that all they can do is upload a final product they’re proud of while keeping their head down. First, there’s the creator that posts their video and immediately gets back to work on the next one. In my opinion, there are two types of YouTube creators. After a year of working semi-consistently on YouTube, here’s how my channel did, and where I see it going in the future. ![]() ![]() During the gameplay, the player will be able to use different crazy power-ups, among which you will find Squirrel Commando or a typical American redneck! After every run, the player will be able to buy different outfits for the bear and unlock new “mounts”. Our hero accidentally turns on the alarm and he is forced to flee on the only one vehicle left the chicken. ![]() But during the attempt of chicken liberation, not everything is working according to the plan. The little bear is fighting for animal freedom. Ultimate Chicken Horse is an endless runner game in which the player takes control of the young polar bear. Ultimate Chicken Horse - Download PC games General Ultimate Chicken Horse Ultimate Chicken Horse A side scrolling game where you must avoid obstacles that was designed for Windows XP You will be redirected to the author website to complete the download. Feed and Grow Fish Ultimate Chicken Horse Free Download: If you can make it but your friends can’t, you score points! Play online or locally with your animal buddies and experiment with a wide variety of platforms in all sorts of strange locations to find new ways to mess with your friends. Ultimate Chicken Horse is a party platformer where you and your friends build the level as you play, placing deadly traps before trying to reach the end of the level. Ever wish you were a wall-jumping, arrow-dodging, trap-setting horse, besting your animal pals in a race through a peril-laden obstacle course that you all built together? Ultimate Chicken Horse Install-Game: ![]() Ultimate Chicken Horse Free Download is a party platformer game where you build the level as you play, placing traps and hazards to screw your friends over, but trying not to screw yourself. About Ultimate Chicken Horse Free Download (v1.9.02 + Co-op) ![]() ![]() ![]() _sample_rate / 1000), format = '%i')įspect_plt = plot_fspectra( data1, data1_name, sample_rate, smooth)ĭef plot_fspectra_2( self, data1, data1_name, data2, data2_name):įspect_plt = plot_fspectra( data1, data1_name, int( self. number_input( "Sample Rate", min_value = 1, value = int( self. ![]() _cmap_optionĬompare_two_fig_2D_helper( data1, data2, cmap_option, vm)įspect_plt = plot_fspectra( data1, data1_name, sample_rate, data2 = data2, data2_name = data2_name)ĭef plot_fspectra( self, data1, data1_name): plot_fspectra( seismic_data, 'Original')ĭef compare_two_fig_2D( self, data1, data1_name, data2, data2_name, is_fspect, sample_rate): ![]() _cmap_option, vmin = - vm, vmax = vm)įspect_plt = self. Seis_plt = plot_seis( seismic_data, cmap = self. plot_fspectra( seis, 'Original')ĭef visualize_seismic_2D( self, seismic_data, is_fspect, is_show_metrics = True): plot_slice( seismic_data, inline_indx, st. slider( 'Time', 0, n_samples - 1, n_samples // 2) metric( "Number of Samples", n_samples)Ĭol5. Return seis, seis_plt, iline_old, xline_old, t_oldĬolorscales = #px.colors.named_colorscales()ĭef visualize_seismic_3D( self, seismic_data, is_fspect, is_show_metrics = True): Seis_plt = plot_top( seis, cmap, - vm, vm) Seis_plt = plot_xln( seis, cmap, - vm, vm) Seis_plt = plot_inl( seis, cmap, - vm, vm)Įlif np. get_sample_rate()ĭef plot_slice( self, _segyfile, inline_indx, iline_old, xline_indx, xline_old, time_indx, t_old, cmap, vm): From utils import fspectra, signaltonoise_dB, signaltonoiseįrom streamlit_image_comparison import image_comparisonĭef _init_( self, _seismic_data, seismic_type): ![]() ![]() ![]() Personally I always like to be asked, but you can have git just trust the exit code from the merge tool. This prompting is happening because the "trustExitCode" option is turned off.You will be asked if the merge was successful, choose yes if all is well or no if you need to start over. ![]()
![]() The WSDD is an extremely useful book (WSDD costs $20. American Forest & Paper Association’s Wood Structural Design Data, provides span recommendations for solid-sawn wood beams up to 32 feet, but the table runs a hefty 140 pages. And even though span tables provide limited data, they are very long. Most beam tables only list values for whole-foot spans like 11’0″, 12’0″, etc. You merely look for the distance you need to span match the load per foot of beam to the appropriate Fb(strength) and E(stiffness) values listed and bang: you have a winner! Span tables are easy to use, but they have limitations. Sawn-Lumber span tables are convenient tools. Technical experts have computed many combinations of these variables and present a variety of solutions in the form of span tables. You can do these calculations yourself or you can use span tables. Formulas that determine the allowable span and size of a beam rely on a host of variables like species, grade, size, deflection limit and type of load. Structural ability of sawn- and engineered-wood beams are predicted through mathematical calculation. No matter what material we specify, beams must provide adequate strength, stiffness, and shear resistance. We will compare the performance and cost of sawn-lumber, LVL, Timberstrand, Parallam and Anthony Power Beam in several different applications. We know how to measure the forces acting on a beam, now we’ll use this information to choose the appropriate structural material to resist the loads. In Part 1, “ Calculating Loads On Headers and Beams“, we learned how to trace load paths and translate roof, wall and floor loads into pounds per lineal foot of supporting beam. Once the loads acting on structural beams are calculated, the next step is to size and select the appropriate beam. Some information contained in it may be outdated. I use this chart: A 15' long 2x12 will span the two 7 1/2' spans and support a 362#/LF total load at a L/360 deflection limit, so this will do.Please note: This older article by our former faculty member remains available on our site for archival purposes. This cuts the span in half so you can use a smaller beam. I would lag it into every stud, but I also like to support it at both ends and in the middle, with a stud laid flat against the wall and lagged into a stud. The ledger along the wall needs design as well. Support with a 4x4 post or 3 2x4's as columns in the walls. Using a readily available 1.9E LVL, a double 11 1/4" deep LVL beam will support a LL of 284#/LF and a total load of 416#/LF, so this is more than adequate. The beam has a contributing area of 6SF x 50#/SF total load, for a total load of 300#/LF. The actual span is 9'-6", so this will work. Using that, and a 10#/SF dead load, Spruce-Pine-Fir for material and a deflection limit of L/360, 2圆's will span 9'-5". ![]() ![]() This should be adequate for what you describe. I use this calculator for sizing joists:Ī 40#/SF live load is typical for residential floors. Joists I like to space at a maximum of 16" on center, to support the floor sheathing properly. Run perpendicular to the joists and provide solid blocking under all seams. I like 3/4" T&G plywood, glued and screwed and staggered for the decking. ![]() |
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