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Maps, a chronology, a bibliography, and an index are provided.Īrt of the First Cities: The Third Millennium B.C. More than five hundred reproductions of the works in the exhibition as well as comparative materials are included in the lavish illustrations, and landscape photographs offer a sense of place. Finally, a section on literature and legacy treats the invention of cuneiform writing and the heritage of Mesopotamian literature and ideas. Next follow sections devoted to art and interconnections from the Mediterranean to the Indus, in which Egypt, the Aegean and western Anatolia, the North Caucasus, the Gulf, Iran, and the Indus area are studied. The volume opens with a focus on the cities of southern Mesopotamia, among them Uruk and Nippur the cities of the north, Mari and Ebla and the Akkadian Dynasty. Included are reliefs celebrating the accomplishments of kings and the pastimes of the elite votive statues representing royal and other privileged persons animal sculptures and spectacular jewelry, musical instruments, and games found in tombs where kings, queens, and their servants were buried. Many objects presented display the pure style of Mesopotamia, others from outlying regions adapt from them a corpus of forms and images, and still others embody vital regional styles. In texts that will be of interest to both specialists and the general public, the social and historical context of the art of the first cities is explored. The first book that encompasses a study of the entire region during a single period, this publication break new ground in particular in its examination of trade and interconnections. More than fifty experts in the field have contributed entries on individual works of art and essays on a wide range of subjects. This volume, which accompanies a major exhibition at The Metropolitan Museum of Art, New York, explores the artistic achievements of the era of the first cities in both the Mesopotamian heartland and across the expanse of western Asia. As Mesopotamia turned to outlying lands for such rare and precious materials as lapis lazuli, carnelian, diorite, gold, silver, and ivory, these regions were linked by networks of trade that encouraged cultural exchange. These extraordinary innovations profoundly affected surrounding areas in Anatolia, Syria-Levant, Iran, and the Gulf, and Mesopotamia was in turn influenced by its neighbors. The need to record and manage the distribution and receipt of goods led to the invention of writing, monumental architecture in the form of temples, and palaces were created, and the visual arts flowered in the service of religion and royalty. Here urban institutions were invented and evolved. In Mesopotamia arose the first cities, believed by their inhabitants to be the property of the gods, who granted kings the power to bring prosperity to the people. The earliest among them was the region known to the ancients as Mesopotamia, located between the Tigris and the Euphrates Rivers and occupying what is today Iraq, northeastern Syria, and southeastern Turkey. These earliest societies, established millennia before the Greco-Roman period, extended from Egypt to India. to 5:00 p.m.Our civilization is rooted in the forms and innovations of societies that flourished in the distant lands of Western Asia more than six thousand years ago. Inside the museum are three rotating galleries with exhibits that change every year. Among the museum's permanent exhibits are a work by Christo which depicts Snoopy's doghouse wrapped, an exhibition of foreign language editions of Peanuts books, Schulz's personal studio and tributes to Schulz from other artists. Two works by Japanese artist Yoshiteru Otani dominate the Great Hall: a 3.5-ton wood sculpture depicting the evolution of Snoopy and a 22 ft (6.7 m)-high ceramic mural made of 3,588 Peanuts strips which combine to form the image of Lucy van Pelt holding the football for Charlie Brown to kick it. The museum is home to many of the original Peanuts strips, as well as other artwork by Schulz. The museum opened on August 17, 2002, two years after Schulz died, and is in Santa Rosa, California. Schulz, creator of the Peanuts comic strip. Schulz Museum and Research Center is a museum dedicated to the works of Charles M. Oxyfuel combustion - The fuel is burned in pure oxygen instead of air.The resulting CO2 can be captured and the H 2 can be used as fuel. The CO from the resulting syngas (CO and H 2) reacts with added steam (H 2O) and is shifted into CO2 and H 2. Pre-combustion - The fossil fuel is partially oxidized, for instance in a gasifier. Post combustion capture is most popular in research because fossil fuel power plants can be retrofitted to include CCS technology.
Slimes have a ton of personality now, serving as irresistibly weird creatures to chase – that includes the new cotton slimes that bounce around and joyously eat all your vegetables, as well as returning crystal slimes that come off as mischievous bullies in this iteration who want nothing more than to break everything in their path. This is most immediately recognizable in its presentation, which has been improved substantially. If the original was a compelling and memorable proof of concept, then Slime Rancher 2 comes much closer to a final product that benefits from years of fine-tuning – even in this early state. On the other hand, Slime Rancher 2 plays it so safe that it took me a while to even notice some of the changes it’s made.īut despite the familiarity, it’s impossible not to notice this sequel’s higher level of polish. The good news is that this formula of exploring, farming, and experimenting with your slimes and their crossbred permutations remains incredibly compelling, and it’s easy to lose track of time while hanging out with this lovable gang of invertebrates. You’ll also fight gross, world-consuming Tarr slimes, upgrade your base of operations and your equipment, and fall off cliffs when you forget you don’t have enough stamina to power your jetpack. As with the first entry, you’ll run around chaotic and beautiful otherworldly environments as you collect resources and slimes, then head back to your home base to turn your jelly friends into profit just like Ayn Rand intended. If you’ve played the first Slime Rancher, even a little, then nothing about this work-in-progress sequel is likely to surprise you. All those upgrades combine to create a satisfying and zen-like adventure that made me want to retire from the rat race of battle royales and action games to settle down on a sticky pasture and live a simple life among the slimes. It may feel like more of a Slime Rancher 1.5 at its early access release, but its presentation is still a night-and-day improvement over the original, the new slimes and areas are wonderful and unique, and movement and exploration both feel much better. After dozens of hours dedicated to wrangling balls of living goop in developer Monomi Park’s previous life sim, it feels great to be back with Slime Rancher 2 – a sequel that retains all of the original’s stickiness (in more ways than one) and ridiculous charm.
There are people who are researching novel ergonomics and designs for instruments. You also need a generous and patient investor. I think this is what most people who’ve considered this idea from one side or the other would say - which is probably why it hadn’t been done yet. I am only one of those people, so as much as I’d like to try this, it’s not the easiest project to pop off the ideas heap. So this would likely be at least a two-person project: one person who knows UX/HCI/IdX + hardware engineering, to design and prototype the device and someone who knows violins, to be that designer-engineer’s critic and internal customer. Such a person is likely to have spent their career thinking more about music than about industrial design, though, so I wouldn’t expect such a person to have too many thoughts on a novel violin UX on their own. a luthier (so that you have expertise in what factors shape the acoustics of a violin, and the sonic space - including the “bad” parts that no violinist would ever intentionally access - that a violin can generate and also so that you’ve given thought to the ergonomics of existing violins, so as to ensure that the new thing isn’t making them worse.).a violinist (so that you have expertise in what sound you’re targeting, and in the existing “UX” of a violin at a professional level - in combination meaning “so you know what should be easy to play, and what should be hard-but-possible”) and also.I feel like, to do it right, you need to already be both (Was that non-preferred Strad from the study in the mix? I'm guessing it was, and it was the one not-preferred). Several more tests and votes narrowed the fiddles to the one the audience liked best: Jimmy Lin's 1715 Strad. The votes were very close each time, but ultimately the audience chose one modern violin and three Strads, from the years 1699, 17. Indianapolis Symphony Concertmaster Zach De Pue played four pairs of violins, allowing the audience to decide which they liked best of each pair, based on playing excerpts from "Scheherazade" and Strauss's 'Don Juan.' Each pair included one old and one modern violin. While jurors were deliberating over the outcome of the Indianapolis violin competition, the audience that was gathered was asked to evaluate some moderns vs. > During the same event when this study took place, another more informal "study" was done by those who did this one. In the formal test one old Stradivarius was universally disliked and in an informal test a modern violin beat an old strad. There are also differences between Stradivarius. … My concern is this: it sounds to me like the older instruments were not optimized - by either selection or by luthier adjustments - while the new moderns were. If the strings were a little older, they were a little older. there was no soundpost adjustment, no bridge adjustment, no check for open seams. > As for the old violins: one was a Guarneri del Gesù (circa 1740) and two were Antonio Stradivari (circa 17) "These violins were loaned with the stipulation that they remain in the condition in which we received them - precluding any tonal adjustments or even changing the strings." That means that, whatever happened to the old violins during their trip - if they got jostled on the airplane, etc. She generally likes that new violins can sound really good, but she criticizes: This is a description by one contestant who participated in the 2010 test. There is also the issue of playing an instrument only an hour vs playing an instrument for a tour or longer time. Modern violins can be louder, and audience generally think loud=better, but this may not what the player prefers or what is wanted in an orchestra. There is no Greg Smallman, Lucien Gélas or Ervin Somogyi of violins, nor will there be without significant cultural change. In blind tests, players and listeners consistently either fail to distinguish between old and new instruments or prefer modern instruments, but these findings have had essentially no impact on attitudes. Improvement of the instrument is not merely discouraged, but definitionally impossible. Stradivarius violins have become the platonic ideal, therefore any new violin can never be better than a close copy. Violin makers have, sadly, decided to pursue a complete dead end, because of the near-universal preoccupation with old instruments. A handmade instrument by an expert can't be beaten by a factory process because each piece of wood resonates differently and those differences must be accounted for to get a good sound. >As I understand it, the difference between a crafted instrument and a factory one lies in the way the creator adapts (or doesn't) to the natural grain of the wood. Stop browsers in their tracks with gripping Facebook, YouTube, TikTok, or Pinterest video ads. Access templates, filters, and stickers / emoji. Make scroll-stopping vertical videos for every platform. Create product demos, presentations, tutorials, and talking head video quickly with our video maker. Polish videos with animations, filters and effects, and audio enhancements. Type a description and Kapwing will create an AI-generated video for you with clips, subtitles, background music, and transitions. Turn any idea into a video concept with a simple text prompt. 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You may be interested in 5 Popular STEP File Viewers for 3D Design Onshape Free (Web-based) With the collaboration feature, you can review and markup your designs and comment directly on your designs and keep track of changes. It also supports navigating large-scale models, isolating and viewing object properties, and measuring the distance, angle, or area between points in your drawing. With this tool, you can upload and view design files from email attachments, Dropbox, Google Drive, OneDrive, iCloud, etc. You can view over 50 different CAD file formats including AutoCAD, DWF, Inventor, Revit (RVT), Fusion 360 (F3D), and more. Once opened, your files can be saved as eDrawings files for sharing.Īlso read: 5 Best Picks of Online SVG Animators Autodesk A360 (Android/iOS)Īutodesk A360 is also a free AutoCAD viewer that is designed for architects, engineers, and designers to view, comment, and markup 2D & 3D designs. 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Autodesk claims that DWG TrueView can assure full functionality over the entire line of AutoCAD versions.ĭesign Review is an add-on to DWG TrueView that makes it more feature-rich. MiniTool MovieMaker Click to Download 100%Clean & Safe Autodesk DWG TrueView (Windows)Īs an official free CAD viewer by Autodesk, DWG TrueView is also a file converter that ensures interoperability between different releases of AutoCAD s and various DWG versions. Go through this list of free CAD viewer software, they offer features that help you load DXF and DWG files, open and view CAD files, convert DWG files into supported formats, view programs for AutoCAD, and open and view STEP files, etc.īy the way, you can try MiniTool MovieMaker to edit videos in various formats and make videos from images. eDrawings Viewer (Windows/Mac/Android/iOS).In this post, we will share some of the best free CAD viewer software with you. If you just need a free CAD viewer, keep on reading. 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There was a change in 2019 that was introduced in offficial forum The only way a member’s strength can be increased is if they upgrade their troops, defenses, war tactics, or other contributing offensive and defensive capabilities. Base layout does not affect this calculation. Strength is based on each member’s attacking power (Troops and Barracks upgrades, War Tactics and Generals) and defensive strength (defense buildings, walls, traps, and generals). How is strength calculated in a World War? Offensive Missile Silo Reticles: +2 Offensive Missile Silo Reticles.BHG official statements Official Guide.Sally Ride in the University confers the following bonuses to the Missile Silo:.4 = Reduces Missile Silo Upgrade cost by 15% 5 = Reduces missile launch time by 1 second 3 = Reduces the threat required for missile launches by 5% Level 6 gives an ability to use Big Red Button Offensive Tactic that launches Missiles when attacking other bases. So you can also wait until the moment the enemy's defensive troops pass by the target before launching the missile to destroy it altogether. The missiles fired from the silo also do splash damage to surrounding buildings and troops with lower damage.If the target isn't something strong, you can always skip using it.It is better to use it on your enemy's high level Defensive Buildings.Because it costs oil to use Big Red Button, make sure the buildings destroyed are worthy.Put the Mortar, Stronghold and Machine Guns surrounding the Missile Silo to protect it from a crowd of Ranged Infantries.Radar next to the Missile Silo to protect it from planes. Put the Anti-Tank guns, Land Mine and Bunkers next to the Missile Silo to protect it from tanks.This strategy will force the attacker to choose either to go for the town center or silo. Avoid placing it close to the Town Center since it would grant them a double win.Don't give commandos access via gates to the silo, force them to go through walls to get to the Missile Silo. Bury the silo in a maze of walls (not placed on side of the map) to prevent attackers from taking it out easily.Once your army is on the battle field, using the Assault Rally tactic on the Missile Silo can help your army destroy it quicker.Remember to keep an eye on the tank units and see if they have entered the minimum valid range (red circles) of the Missile Silo. Since the Missile Silo will try to target the area with the highest HP unit, it is advised that you should keep some distances between your tank units and all the other units.Use the Air-crafts and Destroyers to destroy firstly the Missile Silo.The generals and tanks will draw Missile Silo fire whilst your main army continues with the battle. Use Generals, heavy tanks and tanks and deploy away from the rest of your army.Use the Sabotage Tactics to block the Missile Silo.
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