Fully integrated Workshop – … and then share your work on the fully integrated workshop!.Custom Modding Tools – Use the same tools the developers used to create your own mods, modes and maps for Black Mesa and Black Mesa Multiplayer ….Black Mesa Multiplayer – Fight with or against your friends, in two game modes across six iconic maps from the Half-Life Deathmatch universe: Bounce, Gasworks, Lambdabunker, Stalkyard, Subtransit and Undertow.Xen is not part of the Steam release of Black Mesa, but will included as a free update when it is ready. Heavily updated single player experience – The Black Mesa single player experience has greatly improved from the mod release new visuals, new voice over, updated gameplay encounters, stability changes and more.The Steam release of Black Mesa includes various fixes, upgrades, and new features since Black Mesa’s mod release. The all-new soundtrack, voice acting, choreography and dialogue create a more expansive and immersive experience than ever before. This is Half-Life the way it was meant to be played!Įxpect tremendously detailed environments, old-school tough-as-nails combat, and a gripping story with memorable characters. Gordon Freeman and his unforgettable journey through the Black Mesa Research Facility have been lovingly re-created to capture the full spirit of the original game, without 1998’s graphical limitations. Black Mesa is a re-envisioning of Valve Software's seminal classic Half-Life.
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‘Sunny Came Home’ was a 1998 Grammy Award winner for Song of the Year as well Record of the Year and some of you may remember that her presentation was interrupted by the rapper, Ol’ Dirty Bastard, who protested that Puff Daddy beat his group Wu-Tan Clan for best rap album that year.The damage of which she sings is, mostly, her own. She writes intimate, confessional songs, in what she describes as a "folk idiom that has evolved from old folk music, through Bob Dylan, to personal folk music". Citing Joni Mitchell, James Taylor and Jackson Browne as influences, Colvin sings about herself. So, on top of the usual broken hearts and shattered love affairs that singer-songwriters perennially plumb, she also deals with her alcoholism and depression. "I believe in a biological predisposition towards it, and I suffered terrible anxiety and panic and sensitivity." "Looking back, I see I've had a form of depression from when I was around five years old," she says. Growing up in the 1950s and 60s in the American midwest meant her condition went unrecognised. (Even when she was diagnosed and medicated, in the 1970s, drugs then had dreadful side-effects). Her parents, who married young, were the product of their time. Essentially, they tried to break my spirit, which wasn't an uncommon way to bring up a kid in those days." "They weren't prepared for a kid like me. In Tuff Kid, she sings "My daddy hit me but he couldn't quit me/ We showed each other how to feel alive", while in The Story, she sings of her parents, "And he never did guess/ in her cast-iron dress/ she was burning beyond recognition".Īfter a difficult childhood, Colvin went to college and it was there she started drinking. "I didn't drink until then because I was frightened of losing control, but when I started, when I was 19, that was it. I don't think anyone escapes into addiction because they feel good about themselves and the world is bothering them. "Sometimes, I still just want to take the edge off." It was so nice to take the edge off."Įven today, some 24 years after she stopped drinking, she struggles with it.Īnd if you're that anxious for that long, it takes a lot of energy to deal with it. Music played a huge part in keeping her together. She learnt to play guitar at 10 and moved to New York in her early 20s where, after playing in various bands, she met John Leventhal, the producer and writer with whom she's maintained a creative partnership for 25 years. Leventhal's fingerprints are visible on most of Colvin's nine albums and it was with him she achieved her most commercial success with Sunny Came Home, which won song of the year and record of the year at the 1998 Grammys. Given her tendency and talent for writing personal songs, it's ironic that Colvin is best known for a song that isn't about her at all. A feisty murder ballad, Sunny Came Home, is about a woman, betrayed and belittled by her husband, who returns home and sets fire to her house. "For the record, I've never set fire to my house or murdered anyone," she says, impishly. If Colvin had a breakthrough, A Few Small Repairs, the album containing Sunny Came Home, was it. Another song from the album became the theme tune of the short-lived Brooke Shields sitcom, Suddenly Susan, and she recorded songs for film soundtracks, among them Julia Roberts' Runaway Bride. She's appeared in The Simpsons, in which she voiced Rachel Jordan, the Christian rock star who dated Ned Flanders after Maude's death. And yet, she never fully crossed into the mainstream, remaining more of a cult favourite, a hidden gem, a diamond in the rough. ta sonna koto omoitaku wa nai Suki datta hazu datta itsu datte koe ga kikitaku naru hodo Sore nanoni te ga todoku saki no kimi ga mienaku narisouda Heiki datte su. aoi sora hirogeta yubisaki no sukima light color dareka ga soba ni it 16 5.Otome Gokoro Hey Hey Hey shiteru Hey hey hey suki dakara shikatta nai Tokai wa nai yo Hey hey hey otome gokoro shiranai'n deshou H 17 9.Tokaino Mori ri Miageteru iru no suki wa Chiisana sora naiteru Komi atta chikatetsu de Genjitsu to mugi auJibun de kim 18 12.Hitohira No Hanabira ou na ano suki tooru kaze no naka de Yarinaoseru no nara mou ichido dakishimetai Hitohira no hanabira ga yurete iru boku no tonari de ima Mach. aoi sora hirogeta yubisaki no sukima light color dareka ga soba ni it 14 9.Salbahe a basag-ulo Ikaw ay suki ng kalaboso laging nasa punot-gulo Kadalasan pa ika'y bastos di ka marunong magk 15 13.I Remember You bisaki no sukima light color dareka ga soba ni itekureru sore dake de mune no oku tsutsumare sukuwareteta daiji na mono ga mienai toki mo hito. nto wa wakatteru kimi wo tada sukinanon 11 16.The Session(Longest Posse Cut In History) A-ha! ahh suki suki now It's the brother?uestion And n 12 2.Sushi Girl m somewhere Will my Suki find me in time Or will her sushi spawn? The odor drives me out of my mind The s 13 4.Color bisaki no sukima light color dareka ga soba ni itekureru sore dake de mune no oku tsutsumare sukuwareteta daiji na mono ga mienai toki mo hito. ga kimi no katachi ga Boku no sukima o umete yuku yo Ichido dakede iikara suhada made kanjitai Doko madenara kimi no koto wo aishite ii no(aishite ii no) Karameta. Kinou no yoru mo ototoi no yoru mo(zutto) Kimi o omotte itanda bakadane Me no mae ni ite mo hanarete ite mo Kokoro kimi. You1.Baby I Love You Suki Feat.79 Geudae ramyeon nan mwodeun 9 11.123 brochure look like suki I'm locked behind bars like Suke You know me west to the west coast ain't no nig 10 1.I Know u to itte Sukida yo. atte you and i sou na n da Dai suki na taisetsu na tokubetsu na party 7 1.Dance Dance Dance maisou Dare yori mo suki kono kodou osaekirenai hodoKimi wo mamoreru kurai ni Tsuyoku naretara 8 1.Baby I Love You Suki-Baby I Love You1.Baby I Love You. kari Hala hala setsunai Konya suki nante ienai yo Kimi wo shiritai yoĦ 1.Be my shine koro mada Suki ni nat te ku no sa Sonomama de I te hoshii forever Boku dake ni Subete aduke te yo Kimi o hanasa nai kesshite hanasa nai Kokoro. e ne Hala hala setsunai Konya suki da nante ienai yo Kimi ni aitai yo Ima koso Love evolution!! Fumidase love evolution!! Ashita ga mienakute Nanimo shinjirarenak. 5 2.Love Evolution nai Konya suki da nante ienai yo Kimi wo shiritai yo Ima koso Love Evolution!!'Kotoba de tsutaete' nante iu kedo Nasakenai gurai ni ienai yo A. todorokase'Saisho kara kimi o suki ni nara nakya yokatta' nante bareterundarou na Umare mo sodachi mo barabara na bokura Sugata mo katachi mo sorezore na bokura O. uchiagare'Saisho kara kimi o suki ni nara nakya yokatta' nante uso made tsuite Narenai keshiki fushizen na egao Hanayaka na matsuri to wa chigatteta Kurikaesu ru. see what's next to do And for you So I know I'm through But 4 1.Fire◎Flower ra kimi o suki de irarete yokatta' nante sora ni utaunda Tsumekonda yume o uchiageru basho Sagashimotomete kono machi kara deta Furueru chakus. na live in love To your house Suki and the. Suki and me my and suki Traveling finding out What we in it all out No doubt you're gonna live in love To your house. u But I fall down without you Suki and me We mean. Suki and Me Suki and me me and suki Traveling finding out What we in it all out No doubt you're gonna live in love So I know you But I fall down without you. Album ( Page Link ) Song ( Page Link ) ( Partial Lyrics ) 1 3.Summer Noon Tweedy- Sukierae3.Summer Noon Summer noon I can always stay To radiate what the cello 2 8.Bad Girls low you with a bang Suki Zuki I'm coming in the Cherokee gasoline There's steam on the window screen Take 3 1.Suki and Me Time1. See that the imperials learn nothing─or at least do not return alive to report it. The Resistance will require aid if they are to overcome these interlopers and their strange magicks.Ī detachment of warmachina has descended on the area, seemingly for the purpose of gathering vital intelligence which the Garleans may employ against their Resistance foes. Mysterious Far Easterners sworn to the IVth Imperial Legion have appeared on the front. Seeking to obtain its components for intelligence purposes, the Resistance has launched an attack with the aid of its shinobi allies.ĭefeat Yamatsumi and the 4th legion familiars. The IVth Legion has deployed a new type of magitek weapon. Take up arms alongside the Resistance, that you might cut her and her contingent of savage monstrosities down to size.ĭeliver magitek parts to the Resistance Appropriator. The beastmaster Pagaga, whose puissance on the battlefield is surpassed only by her overweening pride, has been dispatched to the front lines. Obtaining 10 stacks of all 3 buffs will reward players the "Suns of Bozja" achievement. The amount of Proof of Honors needed to increase the stack of one buff will increase every 2 stacks of that buff. Each of them are permament buffs can go up to 10 stacks, and can carry over to the Bozjan Southern Front and the normal and savage versions of Delubrum Reginae. The rules for the assault on the Dalriada are the same as the Battle of Castrum Lacus Litore.Īfter reaching Rank 25 and completing "The Dalriada" critical engagement for the first time, the Resistance Councilor will give the player 3 Proof of Honors for 20 million mettle, which can be used to obtain Suns of Fortitude, Valor, and Succor, which will increase the player's HP, damage dealt, and healing potency respectively. The duty-specific rules and features of Zadnor are the same as those found on The Bozjan Southern Front. Zadnor's climate may exhibit any of the following weather conditions: Camp Vrdelnis - Formerly a mining town, now the Resistance's base camp in the region.Final Fantasy 7 Remake Intergrade Intermission Review - Half-Measureġ1 June 2021 Locations Aetherytes Xojo started out twenty years ago as CrossBasic before Real Software Inc purchased the rights. It was modeled after the very successful Microsoft Visual Basic and those roots are still visible today. Xojo initially ran only on Macintosh but within a few years it ran on Windows. It now runs on Linux too. Xojo has been renamed multiple times first as REALbasic and then as Real Studio but in each name iteration it’s been the same product: a rapid application development platform and language that creates compiled desktop, console, and web applications native for Mac OS X, Windows, and Linux. Not only in 32-bit but also for 64-bit. For a vast majority of users it really is as simple as checking a box captioned “Windows” to create a fully functioning Windows application that works the same as the one you’ve create on the Mac or in Linux. When it comes to software development tools and languages it seems that every time you turn around there is another programming language of the moment that is the hot, hot, HOT thing that everyone has to learn and then two years later it is relegated to old, has been, technology. Each one promises to make software development easier and faster and in most cases they solve A problem but not necessarily all problems. In reality, every development tool still requires a competent programmer to do some work – you get nothing for free. Xojo turns twenty years old in 2016. That’s an extraordinary feat not only for a business but even more as a development tool. The simple fact is that 90% of all businesses in the United States fail within two years. There’s a significant number of the remaining businesses that fail two years after that. Xojo has beaten the odds from a business standpoint. You can also limit access to a single application, so, for example, they only see your web browser or PowerPoint. You can show them your whole desktop, or just a single window. You, as the meeting organizer, do have to download an application in order to experience all of the ScreenMeet features but installation is painless. It works with full sized computers as well as tablets and even smartphones. ScreenMeet works with all major browsers on all major operating systems. You can require that they provide a name/password or not. In all three cases, the client experience is seamless. You can schedule a meeting and send them a calendar invite with a single mouse click.You can provide them with a website to visit.You can initiate meetings one of three ways: There is absolutely nothing for your clients to download. What sets ScreenMeet apart is that it is a lean, easy-to-use application. This is a real turn off for me, as I’m sure it is for many others.įor many advisory firms, ScreenMeet may be a better solution. If you do frequent web meetings, like I do, there is another frustration: Even after you’ve done your initial software download, the software needs to be updated regularly. Worse yet, the advisor is now in the position of providing technical support –not a position most advisors want to be in. But when it happens, the advisor does not leave a good impression with the client. Or what happens if they download it and it doesn’t work? It may not be the fault of the software it may be user error. Particularly in the case of GoToMeeting, clients feel uncomfortable if they have to download a piece of software before they can connect to their advisor. The major complaint I hear is that clients find them difficult to use. GoToMeeting and are great tools for conducting video conferences with clients, prospects and colleagues, but some advisors I talk to have been frustrated with those services. ScreenMeet – An Alternative to or GoToMeeting It is not designed to be a comprehensive review, but rather an informational piece that draws reader’s attention to something that I’ve recently taken a look at that interested me enough to share it with you. This article is the third in what I hope will be a frequent column that supplies readers with a quick overview of a product or service of interest. Others say it is perspective taking, pure awareness and some call it the transcendent sense of self.Īnd three, ACT tries to assess what language or self-descriptions a client is struggling with that leads to inflexibility and tries to reduce the attachment to the conceptualized self.Febru9 Self Assessment Activities for ESL LearnersĮver feel like your ESL classroom is trapped in the same old routine? Most of the time, it is called self-as-context but it is also called the observing self, the core you. Two, there are many names even in the ACT community for this process. It has no form or verbal content but it can be thought as the place from which observations are made. One, self-as-context is the locus from which a person’s experience unfolds. In the next video, we will go through a self-as-context exercise called the observing self.īut before we wrap up, there are three important points from this video. The core self, the observing you is a point of view from which all content such as emotions and thoughts can simply be observed and accepted. It is an unformed place where things can just be. We’ll strive to reduce the attachment to the language concepts that describe a concretized self and see if we can experiment with simply looking at the self-as-context.Īnd the context is not a thing. That can have a deleterious impact on a life well lived.ĪCT aims to help the client use perspective taking to develop a flexible view of the self. When people really buy their own self-descriptions, their behavior may become beholden to that language and influenced to restrict their own psychological flexibility. Self-as-context work helps loosen up attachment to the conceptualized self.īeing attached to the conceptualized self is the other side of the spectrum from self-as-context. When people use language to describe the self in these and many other ways, the ACT therapist will look for these attachments to the conceptualized self to see if it can be loosened. The person articulating I’m depressed may continue because of this conceptualized self to keep acting depressed. The person who is too nervous may never earn what they are worth in their career and be miserable at their job because they link the self to too nervous and too nervous restricts them from actually asking for a raise. The person saying I’m a bad person may then give themselves permission to engage in sociopathic behavior. And you can already see how this will lead to behavioral rigidity, how it will influence psychological inflexibility. And if you listen to what people say, they describe the self with certain concepts like bad person, too nervous, depressed. Or another person might say, I’m depressed. Other people say, I’m too nervous of a person to actually ask for a raise from my boss. In ACT since we’re aiming to increase psychological flexibility, it would be helpful to assess what the client is struggling with that leads to inflexibility. Instead, it can be thought of as the place from which observations are made.Īgain, it is the place or the perspective from which people are able to observe and accept all changing experiences. Self-as-context is transcendent in that it has no form or verbal content. Instead, it is the locus from which a person’s experience unfolds. Self-as-context is not an object of verbal evaluations. Language has a hard time defining self-as-context because it really is something that one experiences. Some therapists call it the transcendent sense of self. Others say it is perspective taking or pure awareness. There are lots of synonyms for self-as-context because different people are trying to define what it is. Self-as-context is difficult to nail down verbally. The ACT hexagon model shows six essential components to the therapeutic approach and this video will highlight the self-as-context. If those places aren’t to your liking, the Undo feature is there to bring you home. This may seem like more complications on top of the 8x11x4 filter choice, but in practice it is very simple to set up and switch mid-flight, which can lead to some unexpected places. For example, this can consist of two parallel filters (left and right, or mid and side) feeding two serial stereo/mid-side filters. The base architecture of the Volcano 3 consists of eight possible arrangements of the four filters in either serial or parallel. Now add to this the fact that each filter can not only be panned, but that its centre frequency can be offset across the stereo field or between mid and side in m/s routings, and it is easy to see the floodgates open to all manner of stereo width and auto-pan effects. Modulating the filter delay(s) allows chorus and flanger effects to be developed, as well as rhythmic pitch slurs when hooked up to an envelope generator. The filter delay function provides up to 50ms delay which can be used for combing and Haas effects when altering on parallel filters and in wet/dry mixes. In its initial static form, it is simple to build up EQs and surgical filters with as much range as any dedicated product, but the real magic of Volcano is that each of the four filters can be moved in any way and in any direction, even time. The multiplier effect of these styles on the eight filter shapes presents the user with an exhaustive set of origin points, and it requires no great effort to conjure up deeply satisfying sounds and creative tools in spite of the potential for choice overload. The eleven filter styles set the character of the non-linearities (saturation) and peak/resonance, with a wide range from clean and smooth to raw and extreme.įor more hot-tempered styles, engage the Auto Mute Self-Osc button to keep your ears from bleeding. In expanding the Volcano, FabFilter has made inclusions such as this that enable subtlety as well as bolder, more outlandish manipulations. A 6dB/oct slope option has been added, which is welcome particularly for gentle shelving work. The updated Volcano 3 augments the traditional triumvirate of low, high and band pass filters with bell, low/high shelving, notch and all-pass shapes, which is a substantial upgrade. Version 2 users will be familiar enough to get to work immediately, but those new to Volcano will not need to reach for the manual immediately – although it is needed for deeper dives. It’s an accessible and inviting space of movement and colour, but never overbearing or garish, which is lucky as it is one of those plug-ins you can spend a long time tweaking. The perimeter of the interface hosts the more mundane essentials such as preset management, undo/redo (a must for the inevitable “I swear I had it perfect just now” moments), output/mix, MIDI Learn, full screen mode and processing quality (oversampling). Below this are the main filter controls followed by the user-configurable modulation section. The refreshed UI design combines a real-time spectrum analyser display and filter shape overlays with editable nodes for four filters. READ MORE: SSL Fusion Vintage Drive review: Genuine SSL sound without the cost.The Volcano 3 may technically be a filter plug-in, but now more than ever it is taking the core of four independent filters and stretching and bending them into more complex and capable audio processing effects. FabFilter’s recent update of its Timeless delay was notably impressive, so expectations are high for this third iteration of its Volcano filter plug-in, which is already considered to be an established class act. Herrick‘s religious self-presentation demonstrates his expansive scholarly interests, as well his instinct to include, rather than to exclude, the religious beliefs of others within his syncretistic sense-of-self. In Noble Numbers, Herrick reveals new facets of his self-presentation to the reader, whilst also making explicit the theological congruencies between the two works. For example, Herrick‘s appropriation of the classical mythological figure of Hercules provides him with both a narrative way and an allegorical way of reconciling the so-called secular, or profane poetry of Hesperides with the so-called religious, or divine poetry of Noble Numbers. At the same time, the rich classical mythological associations of Herrick‘s title, Hesperides, declare his status as an inheritor of the classical literary tradition, whose hallmark during the Renaissance was the melding of classical, Christian and secular associations into new and complexly polyvalent literary works. Instead, Herrick‘s deployment of specific genres and not of others, his chosen conventions for ordering a collection of miscellaneous poems, and his adoption of certain conventional poetic stances provide him with a semi-fictionalised way of declaring who he understands himself to be and how he wants himself to be understood. Although there is a significant overlap between the real-life Herrick and the Hesperidean Herrick, the two figures cannot be regarded as identical. This thesis is an attempt to re-moor a work of literature to its authorial origins particularly a work of literature in which the author-poet‘s self-referential markers are so overtly and persistently present as is the case in Hesperides and His Noble Numbers. Noble numbers English poetry - Early modern, 1500-1700 - History and criticism Date IssuedĢ010 Date 2010 Type Thesis Type Masters Type MA Identifier vital:2207 Identifier Description Literature has tended to be cut from the moorings of its authorial origins under the influential literary criticism of the past forty years. Herrick, Robert, 1591-1674 Criticism and interpretation Herrick, Robert, 1591-1674. Title Robert Herrick's self-presentation in Hesperides and his Noble numbers Creator We explore whether those behavioral frames overlap in productive ways with epistemological frames, thus supporting our efforts to interpret rich video data. We argue that by conducting a systematic analysis of behavioral frames using computerized algorithms we can model student frames as a latent class variable. We explore the potential for using a multimodal learning analytic approach to identify whether clusters of observable behaviors can be used to identify and characterize behavioral frames in rich video data of student interviews. It is easier to catalog observable behaviors (e.g., body motions or gaze) without explicitly attempting to identify their social relevance for the participants. One of the challenges many learning scientists face is the laborious task of coding large amounts of video data and consistently identifying social actions, which is time consuming and difficult to accomplish in a systematic and consistent manner. Finally, the paper provides an overview of commonly adopted time-on-task estimation methods in educational and related research fields. The primary goal of this paper is to raise awareness and initiate a debate on the important issue of time-on-task estimation within a broader learning analytics community. This is particularly true for online setting where the amount of interaction with LMS is typically higher. Based on modeling different student performance measures with popular statistical methods in two datasets (one online and one blended), our findings indicate that time-on-task estimation methods play an important role in shaping the final study results. This paper presents findings from two experiments that looked at the different time-on-task estimation methods and how they influence the final research findings. While time-on-task measures have been extensively used in Learning Analytics research, the details of their estimation are rarely described and the consequences that this process entails are not fully examined. Extracted time-on-task measures are then used to build predictive models of student learning in order to understand and improve learning processes. Among different uses of trace data, it has been extensively used to calculate time that students spent on different learning activities – commonly referred to as student time-on-task. With the widespread adoption of Learning Management Systems (LMS) and other learning technology, large amounts of data – commonly known as trace data – are being recorded and are readily accessible to educational researchers. |
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