![]() (Liebe told them she’d learned to craft dulcimers.)Įventually, three of the five “miscreants” returned. In order to return, the students had to get a doctor’s note asserting that they were fit to be a “good girl” and return to Scripps. The administration decided that forcing the students to take a year’s leave was in everybody’s best interests. “When the college president learned of the JB’s decision,” Sue said, “he talked to a member of the Board of Trustees, who was a lawyer, and he told the President, ‘you will be accused of harboring criminals, Scripps will be subject to police raids.’ It was about the drugs, but I’m guessing they probably had a little conversation about homosexuality too.” But the administration quickly stepped in. The JB sentenced the five students to encampusment – essentially a strict curfew. They couldn’t directly address the “homosexuality” part of the accusations, because “there were no Scripps rules that said you could not be a lesbian.” So the six were judged from the standpoint of a drug policy violation, but fear of “whip-cracking lesbians” (and yes, one of the gang did occasionally walk around cracking a whip) began to percolate through the campus. The Judiciary Board was faced with something entirely new. So you can imagine I perked up my ears and thought, you know, at the very least I’m going to find out who else…” Image: Sue Talbot (left) with other members of the Judiciary Board. “At that point I believed I was the only lesbian at Scripps,” Sue laughed, “and I had been in relationships with women, but we didn’t have the language for it at that time. The Board was called to session with a new case: “a big case that involves five students plus an alum…a case involving drugs and homosexuality.” Liebe was a rebellious senior, and Sue a straight-laced junior, dutifully serving as her hall’s representative for the Judiciary Board - an autonomous student organization dispensing justice to petty rule-breakers. “How did Liebe get kicked out of Scripps?” I asked. (The top floor of the house, an enormous open space reminiscent of a log cabin, could indeed host an elephant - if you could coax it up the stairs.) Whether you call it a love story or the first rumblings of a revolution, it certainly started with a bang - so I began the interview by addressing the elephant in the room. Their story is the prelude to many stories, a glimpse into the lives of queer Scripps students, then and now. But perhaps to call it a love story is to miss a greater point the two, together, trespassed into a then-forbidden world, an enclave within Scripps’s “ivy walls” that would emerge quietly, cautiously, over a period of many decades. Liebe and Sue’s love story began with a near-expulsion. As idyllic as their life together seems now, the challenges they’ve faced have been far beyond the ordinary from Liebe’s forced departure from Scripps, to the couple’s forays into the radical lesbian movement of the 70s, to their navigation of Liebe’s illness and disability, Talbot and Gray have fought for intersectional feminism since “before the term was even invented.” Image: Liebe Gray, senior photo. After 45 years together, the two seem as comfortable as a pair of old and sturdy boots, roosting happily in their tall and cozy home in the LA hills. Liebe sat in her wheelchair, eyeballing the Dodgers game and offering the occasional witty or impatient interjection. Sue offered me a cranberry juice and sat on the couch across from me. I kicked off our interview after a brief tour of the henhouse and the tomato plants. I had high hopes for our meeting Sue and Liebe did not disappoint. Dodgers (Liebe calls the stadium their “summer home”), and the pair’s matching Rosie the Riveter costumes (pulled together for the L.A. After a cursory look through her pictures, I discovered her large pink glasses, her devout patronage of the L.A. Her profile picture is a stark white-on-gray text reading STOP KILLING BLACK PEOPLE. If you’re researching queer history at Scripps, she said, have you talked to Sue and Liebe? (That’s lee-bee, I learned later, not Libby, not Elizabeth, lee-bee like the German word for love.)Ī few days later, I was chatting on Facebook with Sue Talbot, Scripps class of 1969, confirmed lesbian and social miscreant. I’d reached out to Sue several weeks prior, after moaning to a mutual friend about my lack of primary resources. As she’d mentioned in one of her Facebook messages, she and her partner Liebe Gray kept bees - and, as I would soon discover, a flock of 17 chickens, two cats, a black lab mix named Gilda, and two placid pet snakes. On a warm Saturday in June, Sue Talbot picked me up at Union Station (“look for the beige Kia Soul”), maneuvering with the impatient grace of a longtime LA resident. An Afternoon with Sue Talbot and Liebe Gray, Scripps College Class of ’69
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![]() Worldpainter is a Minecraft tool that provides Minetest support via a plugin. Prunes the map.sqlite file of a world and deletes blocks outside a specified range. Use image files as heightmaps and biome-maps to generate worlds. Reads GeoTiff land cover data and digital elevation models such as those provided by SRTM Generate worlds from real-world topographical data. (Technically this is a modpack, and is operated from within the game engine) Tools and commands for editing the world. written in Go.Ĭreates isometric images of already existing worlds. Play on your world and share a map of it in the Web, live. Play on your world and share a map of it in the Web, live.Ī real-time Web mapping system with POI, player, shop and item-search support. Can also view the biomes as Voronoi diagrams.Ī real-time Web mapping system. This tool just needs a world type, biome profile and seed. There is also a Minetest Mapper GUI available.Ĭreates a map of biomes without actually creating the world. Excellent work.Creates 2D map images of an already existing world. I really enjoyed your club and other maps - there is a lot of creativity and atmosphere in this mod. Using 2/16 obsidian slab walls (moreblocks saw table) and other slab options to better fit commonplace maze generators would be a good option aswell. I would also enjoy if your mod were able to generate using other algorithms, and put various types of bounding walls around the edges, and have an option that ensures it is a perfect maze with only one solution. Since this mod generates using Wilson's algorithm, we are successfully able to translate that into our project, after having difficulty finding any functioning block-based maze generators. 2) Prim's Modified (lowest weight branch approach). We went through a large list of potential algorithms to find what we thought were the best candidates for difficulty, reaching the objective estimate of 1) Kruskal's. This mod is helping me and another player create a 99x99 four-quadrant sequential algorithm maze. This is not a game I expect anyone to sink hours into, but it's a nice way to spend 15min and it speaks to the presentation possible in more restrictive Minetest experiences. Having a more polished custom solution would be really neat, and I think it would help add more replay value to this otherwise short experience. Switching camera modes kinda works, but it's a very janky and disorienting experience due to the camera clipping and lack of player model. If there's one clear improvement I'd like to see eventually, it'd be a proper 3rd-person mode where you look down at the maze. Some of the themes also have neat visual touches, like the fake reflections and particles of the club theme or the fact that the glass theme is a hell that will haunt my nightmares tonight :) ![]() I didn't see any bugs while playing, and what's there is relatively well-polished. The game has some nice touches, such as providing a soundtrack (with per-theme tracks even!) and some custom UI for picking mazes/restarting if you get stuck. ![]() And indeed, this game provides mazes just as promised! Much like with Box World 3D, I don't really feel the need to describe the game because I suspect everyone here has seen a maze before. ![]() ![]() 2 Error occurred during deployment : Exception while loading the app : java. Here is the error netbean show me when I try to run it: In-place deployment at C:\JavaProjects\new app\First Ice Popup\build \web deploy?DEFAULT=C:\JavaProjects\new app\First Ice Popup\build \web&name=First_Ice_Popup& contextroot=/First_Ice_Popup&force=true failed on GlassFish Server 3.1.2 Error occurred during deployment: Exception while loading the app : : ContainerBase.addChild: start: : : .ConfigurationException: Source Document: jar:file:/C:/JavaProjects /new%20app/First%20Ice%20Popup/build /web/WEB-INF/lib/icefaces-compat.jar!/META- INF/faces-config.xml Cause: Class ' .effect.ApplyEffectRenderer'Ĭ : \JavaProjects\new app\First Ice Popup \build \webĭeploy ? DEFAULT = C : \JavaProjects\new app\First Ice Popup \build\web & name = First_Ice_Popup & contextroot =/ First_Ice_Popup & force = true failed on GlassFish Server 3.1. So if anyone of you could help me identify why my project is not working when am trying to run it, I'll be very happy. I suspect the problem to be coming from a configuration I omitted or something else I don't know. I added all the jar files successfully, created the project and typed all the codes that were given to me by the tutorial.īut when I tried to run the icefaces project, netbean always pops up an error message in an output panel. jar file that is required to successfully create and run an ICE faces project. The tutorial started with the configurations of my environment like adding all the possible. ![]() I came across a tutorial online that shows how to create a popup dialogue box. ![]() Buy tickets to all TSC upcoming shows here. To name just a few: The Mousetrap at St Martin’s Theatre Les Misérables at The Sondheim Theatre The Phantom Of The Opera at Her Majesty’s Theatre The Woman In Black at Fortune Theatre Mamma Mia! at Novello Theatre Hamilton at Victoria Palace Theatre Tina – The Tina Turner Musical at the Aldwych Theatre Everybody’s Talking About Jamie at the Apollo Theatre Only Fools and Horses at the Theatre Royal Haymarket Come From Away at the Phoenix Theatre The Lion King at the Lyceum Theatre Harry Potter and the Cursed Child at the Palace Theatre Pretty Woman The Musical at the Savoy Theatre Wicked at the Apollo Victoria Theatre Matilda The Musical at the Cambridge Theatre, Mary Poppins at the Prince Edward Theatre and The Book of Mormon at The Prince of Wales Theatre. The Stlye Councillors - The one & only tribute to The Style Council. If you still haven’t received anything, please call Quaytickets on 03. Browse 2023 tour dates, venue details, concert reviews, photos, and more at Bandsintown. London's West End hosts a spectacular line up of West End shows in some of the most notable theatres in the world. All The Style Council concerts Follow this artist and we’ll let you know when they have concerts. The Style Councillors will be reprising the album in full along with a set of other classics by The Style Council. The Style Council No longer touring 37 past concerts Join Songkick to track your favorite artists and never miss them live. Tickets: You should receive your ticket confirmation within 24 hours of booking. The Style Council Albums: songs, discography, biography, and listening guide - Rate Your Music The Style Council Formed 1983, London, Greater London, United Kingdom Disbanded 1990 Members Paul Weller (vocals, guitar), Dee C. Get notified whenever The Style Council announces a live stream or a concert in your area Find tickets for The Style Council concerts near you. ![]() In London's bustling entertainment district you can explore endless shopping streets, countless buzzing restaurants and bars as well as the world-famous West End Theatres showcasing the best plays and musicals in the world. The Style Council - full concert from Japan 1984 REMASTERED in 1080p 566 views This concert from Japan was originally released on VHS under the title Far East And Far Out back in. ![]() Take photos of your friends with props, and then print directly to your Selphy printer - give a photo for your guests to take home – trust me everyone is going to want to print out heaps of these.It's super easy - just a few clicks on your computer and printer. Get everyone involved in printing and cutting out your party props and photos.Log on to Creative Park and download your favourite theme (you might get sidetracked by all of the other projects you'll find) Pick a theme - this always makes things more fun.Here are my tips for your DIY home photo booth for your next party: We printed some fun props to make the photo booth even more fun. Thanks to Canon’s Creative park - a great resource I just discovered with endless (FREE) download of all kinds of portables and projects - it’s easy to get carried away. We have a range of fun foods for your wedding, party, corporate of other. Both kids and big kids can create lasting memories and it’s a fun activity. Hire a photobooth for your wedding reception to give your guests some great. This idea is perfect for all kids’ parties. We taped them to the wall and then simply added a bench in front for an instant and easy photo booth at home. For this shoot we used some large pieces of coloured pale pink paper from a news agency. They are wire bound so you don't have to ever worry about your book falling apart. Our photo albums are 100 handmade with love. It’s the most fun you’ll ever have - and with a Selphy printer you can print your photos straight from your phone, after you’ve shot them with a simple DIY backdrop. Photo booth photos are meant to be fun memories for you & your guest so we never put our logo on your print strips or digital images to distract from your day. All you need is a Canon printer to print off your favourite props. Here is an easy way to add some extra fun to your next party or gathering. Texture wrapping is performed before texture addressing. To disable texture wrapping for a set of texture coordinates, set the value for the corresponding render state to 0.ĭo not confuse texture wrapping with the similarly named texture addressing modes. If you omit a flag, texture wrapping in the corresponding direction is disabled. Specify the D3DWRAPCOORD_0 through D3DWRAPCOORD_3 flags in the second parameter to enable texture wrapping in the corresponding direction, or combine them to enable wrapping in multiple directions. Specify one of the D3DRS_WRAP0 through D3DRS_WRAP7 enumerated values which specify which texture level to set the wrapping for. The first parameter accepted by IDirect3DDevice9::SetRenderState is a render state to set. d3dDevice->SetRenderState(D3DRS_WRAP0, D3DWRAPCOORD_0) To enable texture wrapping, call the IDirect3DDevice9::SetRenderState method as shown in the code example below. Rather, the area at the front of the pillar contains a horizontally compressed version of the texels between u-coordinates 0.175 and 0.875, as they pass through the center of the texture. If texture wrapping isn't enabled, the rasterizer does not interpolate in the direction needed to generate a believable, reflected image. The textured pillar looks like the following illustration. With wrapping enabled in the u-direction, the textured pillar shows the colors and symbols from the environment map appropriately and, at the seam in the front of the texture, the rasterizer properly chooses the shortest route between the texture coordinates, assuming that u-coordinates 0.0 and 1.0 share the same location. The seam where wrapping will cross the edges of the texture is shown with a dotted line. The following diagram shows a wire frame of the pillar with the applicable texture coordinates listed near the top vertices. Mapping the environment map texture to the pillar is simple making the pillar look as though it is reflecting the letters and colors is not as easy. ![]() Imagine that the room's ceiling is held up by a perfectly reflective, four-sided, pillar. The environment map for such a simple room might look like the following illustration. For the sake of this discussion, picture a room with four walls, each one painted with a letter R, G, B, Y and the corresponding colors: red, green, blue, and yellow. Usually, an object textured with an environment map appears very reflective, showing a mirrored image of the object's surroundings in the scene. The most common practical application for texture wrapping is to perform environment mapping. In this situation, you can envision the texture as a torus, or doughnut. Wrapping in both the u-direction and v-direction is more complex. Wrapping in the v-direction is similar, except that it wraps the texture around a cylinder that is lying on its side. Using the same points as in the example for normal, or nonwrapped, textures, you can see that the shortest route between points A and B is no longer across the middle of the texture it's now across the border where 0.0 and 1.0 exist together. The preceding illustration shows how wrapping in the u - direction affects how the system interpolates texture coordinates. For example, consider the following diagram. The last bit is the tricky part: You can imagine that enabling texture wrapping in one direction causes the system to treat a texture as though it were wrapped around a cylinder. By definition, texture wrapping causes the rasterizer to take the shortest route between texture coordinate sets, assuming that 0.0 and 1.0 are coincident. ![]() Enabling u-texture or v-texture coordinate wrapping changes how Direct3D perceives the shortest route between texture coordinates in the u-direction and v-direction. Note that the shortest distance between A and B in this illustration runs roughly through the middle of the texture. If point A represents the u, v position (0.8, 0.1), and point B is at (0.1,0.1), the line of interpolation looks like the following diagram. Normally, the system treats the texture as a 2D plane, interpolating new texels by taking the shortest route from point A within a texture to point B. While rasterizing a polygon, the system interpolates between the texture coordinates at each of the polygon's vertices to determine the texels that should be used for every pixel of the polygon. ![]() ![]() In short, texture wrapping changes the basic way that Direct3D rasterizes textured polygons using the texture coordinates specified for each vertex. The corrections would be applied, not only to the switcher but, to all destinations that are taking the source. You may also get other upsides like proc amp or color corrector. If you need to take in “wild” sources, putting them thru a FS will sync them for everyone, including your switcher. That way you can re-use the switcher resource other places. If something is creating frames, and takes sync, the give it sync and turn off your internal FS. This is why frame synchronizers are way different than up down cross converters. Will devices with genlock accept that?Īs for dealing with not having any more frame syncs available on the switcher inputs, looks like I need to get a converter that actually says frame sync on it? Sounds like the cheap blackmagic would be an iffy option?ĭevices that create frames, like cameras and playback devices, take sync and then create their frames in sync.Įxternal or in-line frame syncs have to store frames of video that have already been created and then play them back out in sync. So I assume anything calling for reference will accept that. Just took a look at our carbonite now and we are in fact using that to feed the reference to everything that accepts it. Are these all terms for the same thing or are they different types of sync? Where I'm having trouble is some devices say "reference" some say "genlock" or "sync". I understand the reasoning behind frame sync as far as making clean switches and what not. I guess I worded part of my question poorly. I've ran out of frame syncs on the switcher but still have inputs available. I'm trying to figure all this out because at the church I work at, over the past year we've added lots of cameras and moved a bunch over to wireless teradeks. Will these all do the same job and all take the same reference signal that the camera and ultrastudios are using? Any thoughts on these or other options I should look at? Im looking at using the blackmagic updowncross hd converter, the aida sdi to genlock converter or the lynx yellowbrik hdmi to sdi converter with frame sync. I've found a few thing that look like they would sync the additional devices but I'm not totally sure about it. I'm wanting to add more devices that do not have sync so I'm looking at different options and just want to make sure I understand everything correctly. I know we have some devices that take external sync like our studio camera and our blackmagic ultrastudios. We have a ross carbonite video switcher at work and we've ran out of frame syncs for the inputs. R/talesfromproduction All your weird stories R/LocationSound Location sound AKA Production Sound R/audiopost For post-production sound geeks in Games, TV, Film, and Broadcast r/crestron All that is good (and bad) in the world of Crestron r/broadcastengineering Also includes radio! r/CommercialAV Commercial audio, video, and control technologies If you have any questions or suggestions please feel free to messsage the moderators! We would love to make this a great and successful subreddit for all of us video engineers! Remember that no question is stupid and we work together to create a friendly community. All things video are welcome!įeel free to post anything you like from questions to pictures. From a dad with a camcorder to a professional engineer at the superbowl, or a small meeting room operator to a widescreen specialist, projectionist, LED wall engineer or a electrical video engineer. This subreddit is open to anyone to discuss, share and show their work, as well as ask questions towards anything concerning video production. ![]() Welcome to r/videoengineering! Inspired by our brother subreddit: audioengineering |
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