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Gives you the ability to make all these changes DYNAMICALLY, no DIP switch adjustments, no loading bar, no SD Card, no pin adjusting, no waiting.Fully configurable firmware, upgradable through the Ultrasabers Launcher software.Accepts both LSU and WAV sound format (mono, 16 bit, 48 kHz).Battery monitor with 2 warning thresholds on any accent LED (for DIY users).Gives you the ability to adjust the time and duration of the all light effects – which means you can create an unlimited variety and combination of pulses, flickers, shimmer across every sound effect (not just flash on clash).8 bit light intensity control on each channel, generating more than 16 million colors.And three additional Accent LEDs for DIY users.
This structure allows for stories to take the form of crises, rather than more straightforward globe(s)-trotting adventures. The same approach is in Super Metroid: Zebes is loosely divided into different sections, connected by lifts, but not in such a straightforward way that you could speak about levels. Instead it has episodes, which all take place within a single, contiguous world, the Black Mesa facility. Unlike other action games at the time, Half-Life isn’t split into easily defined levels. The most important similarity though, and it’s one of Half-Life’s most impressive features to this day, is story. You want me to get the hell out of the space station, gotcha. There’s no dialogue necessary when everything goes nuts around you and a timer suddenly appears on the screen. But Super Metroid is more extreme than most in that it almost never takes control away from the player. Of course it’s hardly a surprise given the SNES’s capabilities – hardly any cartridge-based game had anything we would recognise as a cutscene today. The most obvious is the lack of cutscenes in both games. In particular what struck me was how you only have to go back a few short years to 1994’s Super Metroid to find many of those same elements that made Half-Life stand out in 1998. Part of the novelty with Half-Life is how a lack of cutscenes seems at once forward-looking and influential (particularly in the FPS genre – Portal, Bioshock, etc), and on the other hand backwards-looking and retro. There’s evidence too of how heartless the Black Mesa staff are – I’ve deliberately jumped to my death in the presence of guards and scientists and no one said anything, let alone tried to stop me. I like it plenty – no one even blinks twice at the most bizarre antics. Whenever there’s character interaction you still maintain control. Your on-rails vehicle, for instance, bursts through a wall and falls two floors into water, with you still in it. With setpieces, you have control of the character practically all of the time, but out of the ordinary things are frequently happening, be it to you or the environment. There’s also a bonus at the end…but you’ll have to see.Īs many will no doubt recall, one of the “innovations” in Half-Life was a complete lack of cutscenes at a time (1998) when cutscenes were quickly becoming ubiquitous. In place of cutscenes, the game relies heavily on setpieces to create drama. Obsessing over storytelling in games is nothing new for this blog and I’m afraid that’s where I want to go with this post too. Alongside the entertaining (if at times infuriating) gameplay, there’s the story. After several years absence from the Black Mesa facility it all feels very fresh. Replaying the original Half-Life recently has been fun for all kinds of reasons. 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Ego denique vespera, dum polentae caseatae modico secus offulam grandiorem in convivas aemulus contruncare gestio, mollitie cibi glutinosi faucibus inhaerentis et meacula spiritus distinentis minimo minus interii: et tamen Athenis proxime et ante Poecilen porticum isto gemino obtutu circulatorem aspexi equestrem spatham Minus Hercule calles pravissimis opinionibus ea putari mendacia, quae vel auditu nova vel visu rudia vel certe supra captum cogitationis ardua videantur quae si paulo accuratius exploraris, non modo compertu evidentia, verum etiam factu faciliaĬh. Tunc ego in verba fidentior Heus tu inquam Qui sermonem ieceras priorem, ne pigeat te vel taedeat reliqua pertexere, et ad alium Tu vero crassis auribus et obstinato corde respuis quae forsitan vere perhibeantur. 3 At ille qui coeperat, Ne inquit Istud mendacium tam verum est, quam si quis velit dicere magico susurramine amnes agiles reverti, mare pigrum colligari, ventos inanimes exspirare solem inhiberi, lunam despumari, stellas evelli, diem tolli, noctem teneri. Vel certe plurima: simul iugi quod insurgimus aspritudinem fabularum lepida incunditas levigabit.Ĭh. Isto accepto sititor alioquin novitatis Immo vero inquam Impertite sermonis non quidem curiosum, sed qui velim scire vel cuncta Ac dum ausculto quid sermonis agitarent, alter exerto cachinno Parce inquit In verba ista haec tam absurda tamque immania mentiendo. Ac dum is, ientaculum ambulatorium, prata quae praeterit ore in latus detorto pronus affectat, duobus comitum, qui forte paululum processerant, tertium me facio. Postquam ardua montium et lubrica vallium et roscida caespitum et glebosa camporum emensi, me equo indigena peralbo vehens eo quoque admodum fesso, ut ipse etiam fatigationem sedentariam incessus vegetatione discuterem, in pedes desilio, equi sudorem a fronte curiose exfrico, aures remulceo, frenos detraho, in gradum lenem sensim proveho, quoad lassitudinis incommodum alui solitum ac naturale praesidium eliquaret. 2 Thessaliam, nam et illic originis maternae nostrae fundamenta a Plutarcho illo inclito ac mox Sexto philosopho nepote eius prodita gloriam nobis faciunt, eam Thessaliam ex negotio petebam. Fabulam Graecanicam incipimus: lector intende laetaberis.Ĭh. Iam haec equidem ipsa vocis immutatio desultoriae scientiae stilo quem accessimus respondet. En ecce praefamur veniam, si quid exotici ac forensis sermonis rudis Mox in urbe Latia advena studiorum, Quiritium indigenam sermonem aerumnabili labore, nullo magistro praeeunte, aggressus excolui. Hymettos Attica et Isthmos Ephyraea et Taenaros Spartiaca, glebae felices aeternum libris felicioribus conditae, mea vetus prosapia est: ibi linguam Attidem primis pueritiae stipendiis merui. 1 At ego tibi sermone isto Milesio varias fabulas conseram auresque tuas benivolas lepido susurro permulceam, modo si papyrum Aegyptiam argutia Nilotici calami inscriptam non spreveris inspicere, figuras fortunasque hominum in alias imagines conversas et in se rursum mutuo nexu refectas, ut mireris. So the first thing to be understood about Lieh Tzu: he is not a theoretician, he will not give you any theory he will simply give you parables. The parable is an Eastern invention, and of tremendous import. There are Aesop’s parables, but they are also reflections of the greatest book of parables of the East, PANCHATANTRA. And even Jesus’ parables seem to be such that he must have carried them from the East. nothing like these people’s parables exist only Jesus. In the West, except for Jesus’ parables, nothing like Lieh Tzu, Chuang Tzu, Buddha. If you don’t dissect it but just drink the meaning of it, the poetry of it, the music of it – forget the story and just carry the significance of it – soon you will see that it indicates towards a future, towards something which can be but is not yet. If you just dissect the parable it becomes an ordinary story. Right now that is only a possibility, it is not actual. It shows that there is a possibility of growing, of being connected with existence. As the navel shows something about the past, a parable shows something about the future. This is just a mark that the past has left. It indicates that the man was once a child, that the child was once in the womb of a mother, that the child was connected with the mother. You will have to look everywhere, all around, to find the indication – where it indicates. But now the child is no longer in the womb – the mother may have died, the child has become old now what is the purpose of the navel? It has a transcendental purpose the purpose is not in itself. What is the purpose of the navel? It WAS purposeful when the child was in the womb: its purpose was that it related the child to the mother, it connected the child with the mother. If you go to the surgeon and ask him what the purpose of the navel is in the body, and if he dissects the body, he will not find any purpose the navel seems almost useless. If you dissect the parable itself you will not come to much understanding. These parables in themselves 2Īre beautiful, but that is not their purpose. Don’t cling to the finger – that is irrelevant – look at the moon. And that which cannot be said can be shown. A parable is open-ended: it says and yet it leaves much to be said, it only hints. A theory has to be closed if it is a theory it cannot be openended, otherwise it will be meaningless. Life cannot be put into a theory – it is so vast, it is so infinite. The purpose of it is not to entertain you, the purpose of it is to say something which there is no other way to say. A parable is a device, a great device it is not just an ordinary story. Whenever somebody has experienced life, his experience has flowered into parables: that seems to be the easiest way to hint at that which cannot be said. His approach is that of an artist: the poet, the story-teller – and he is a master storyteller. Before we start entering into his world, a few things have to be under stood about him. Lieh Tzu is one of those very few he is rare. Thousands and thousands of people have tried to express it – very few have succeeded even in giving a reflection of it. Truth cannot be expressed: that inexpressibility is intrinsic to truth. IS IT HE WHO IS TRULY MISERABLE, IS IT WE WHO ARE TRULY HAPPY?’ I REJOICE in Lieh Tzu – he is one of the most perfect expressions for the inexpressible. PICKING A STALK HE POINTED TO THE SKULL AND, TURNING TO HIS DISCIPLE PAI FENG, SAID ’ONLY HE AND I KNOW THAT YOU WERE NEVER BORN AND WILL NEVER DIE. WHEN LIEH TZU WAS EATING AT THE ROADSIDE ON A JOURNEY TO WEI, HE SAW A HUNDRED-YEAR-OLD SKULL. This book includes a free audio CD, The Cyclone is the Centre.Talks given from 11/02/77 am to 24/02/77 am English Discourse series Tao is a process of de - hypnosis." "It is not a question of what Lieh Tzu is saying, it is a question of what Lieh Tzu is - the simplicity, the humbleness, the meekness of the person, the innocence of the person." "Osho is an enlightened master who is working with all possibilities to help humanity overcome a difficult phase in developing consciousness." - His Holiness the Dalalai Lama Osho has been described by The Sunday Times in London as one of the "1000 Makers of the 20th Century" and by Sunday Mid - Day in India as one of the ten people - along with Gandhi, Nehru and Buddha - who have changed the destiny of India. In this book, Osho examines Taoism through stories, parables and life and teachings of Lieh Tzu. There is no technique to Tao Tao is nature. Includes a Free Audio CD Osho says, Tao is the greatest possible ideal for man but there is no guided path to it. I started editing roughcuts together, still not knowing how the story was going to unfold. As I did that, I vaguely thought that maybe I could get this on TV late at night or as an internet download or a DVD or something like that. So I got some new equipment and taught myself how to use it, and loaded the footage to edit on my computer. So I thought, well the key is really to do it myself, because of the intimate relationship I have with the place, and I need to shoot it myself. As I looked at that footage, I thought ‘this is kind of cool, maybe I need to hire a professional cinematographer to come and get some better footage.’ And I spend a few hours with a camera woman, who was great, but I look back at the footage and although it was nicely framed and focused and lit, it had lost the confessional quality which my iphone footage had. I started initially just taking shots of the lighthouse with my iphone and sort of mumbling thoughts into the mic. Thomas Dolby: I’d just finished my album ‘A Map Of The Floating City ’ and when I found out that this lighthouse right near my studio, which I’ve known since I was a kid, was going to close down I felt compelled to document this in some way. What inspired you to create this film? Were you planning all along to take it on tour like this? In a phone interview, Dolby discussed “The Invisible Lighthouse,” as well his career in general. Performances consist of Dolby performing a live soundtrack and narration as the film plays, with Blake Leyh doing live sound design and effects. The endeavor evolved into “The Invisible Lighthouse,” a transmedia event that Dolby is taking out on the road. A lack of cooperation from local authorities meant this entailed going out to the island on an inflatable boat and using a remote control drone camera for aerial shots. Located at the tip of an off-limits ex-military island, the lighthouse was about to close, prompting Dolby to get out and document it. Having returned to Suffolk, England after spending over 15 years in Silicon Valley, Thomas Dolby found inspiration in a lighthouse that was part of his childhood memories. Thomas Dolby interviewed about "The Invisible Lighthouse" Including a very hard to find LIVE CD, i guess that was sold on that tour. In 2013, there was a huge multimedia tour, and film for 'the invisible lighthouse', The result seemed to fit in with the GOLDEN AGE OF WIRELESS ethos, and made for a nice little SW radio-driven sequence on side two. But I had second thoughts about it after listening to the album in toto and decided it was too 'rockist.' About the same time the opportunity came up for me to work with Daniel Miller (Depeche Mode's producer and supremo of Mute Records) plus Akiko Yano was in town! so I decided to take another crack at it. TD: "There are two very different renditions of 'Radio Silence.' I originally recorded it with the same rock band as had played on many other GOLDEN AGE OF WIRELESS tracks: Kevin Armstrong, Justin Hildreth, and Mark Heyward-Chaplin. 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Watch Video: 13 things more likely to happen than winning the Powerball jackpot Overall a very bad place to work, they don’t care and will overwork you until you drop and then they dump more work onto you. Management dumps everything onto the front end workers while yelling at them and praising the people who do nothing but sit on their phones. I don’t get paid enough to do 4 departments worth of work, I barely even get paid enough for everything I have to do in the front end. Cashiers expected to run around multiple departments and do their jobs while also maintaining the front, which is impossible and overworking. Knowledge, Skills, and Abilities Must maintain the highest level of customer service at all times. Everyday is a pain, the customers walk all over you and degrade you in every way they possibly can and nobody cares. Previous experience in a natural foods industry is a plus. Management does nothing but spy on you through the cameras- especially if you’re a woman working. 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Got written up for a family emergency that left me unable to work for about 5 or so days. The environment in my store is as toxic as toxic comes. It is only applicable for collections of Entries and Assets, and with an Entry you must provide the content_type query parameter. The select operator has some restrictions: For example, a Space resource will have a sys.type and sys.id: /entries/?select=fields&content_type=2PqfXUJwE8qSYKuM0U6w8M Note: None of the sys fields are editable and you can only specify the sys.id in the creation of an item (If it's not a *space_).Ĭontentful defines the sys.id property for every resource that is not a collection. The exact metadata available depends on the resource type, but at minimum it defines the sys.type property. Meaning: wait 1 second before making more requests.Įvery resource returned by the Content Delivery API will have a sys property, which is an object containing system managed metadata. The current rate limit for a client is the default 55 per second.Ĭlient: 85 uncached requests in 1 second HTTP/1.1 429 The value of this header is an integer specifying the time before the limit resets and another request will be accepted.Īs the client is rate-limited per second, the header will return 1, which means the next second. When a client gets rate limited, the API responds with the 429 Too Many Requests HTTP status codeĪnd sets the X-Contentful-RateLimit-Reset header that tells the client when it can make its next single request. Higher rate limits may apply depending on your current plan. For requests that do hit the Content Delivery API enforces the request doesn't count towards your rate limitĪnd you can make an unlimited amount of cache hits. There are no limits enforced on requests that hit our CDN cache, i.e. API Rate limits specify the number of requests a client can make to Contentful APIs in a specific time frame.Įvery request counts against a per-second rate limit. |
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