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DREAMCATCHER Southeast Asia Tour with Stop in Manila
South Korea's popular young metal group DREAMCATCHER will make a stop in Manila this March as part of their long-awaited Southeast Asia tour. In response to requests on fan-initiated concert making platform MyMusicTaste, DREAMCATCHER will visit three cities across Southeast Asia, visiting Manila on March 24.
DREAMCATCHER CONCERT : Invitation from Nightmare City in Manila was made possible by fans through MyMusicTaste, an online service that allows fans to request their favorite bands to their cities. This tour already marks DREAMCATCHER's third tours that were made through fan requests on MyMusicTaste; this relatively-rookie group already toured in Europe and Latin America, thrilling the crowds with their irresistible charms and unparalleled performances. Their Europe tour became the first k-pop girl group to complete a tour of major European cities.
Debuted in January 2017 with the single Nightmare, DREAMCATCHER has quickly caught the eye of music critics with their unique concept of "Young Metal" and intoxicating choreography. Voted no.3 on Billboard's Best New K-Pop Acts in 2017, the group's worldwide fame has since been growing exponentially; their second EP You and I was released in 2018 and made its debut on the Billboard's World Albums Chart at no.7. Without losing their momentum, DREAMCATCHER continued to show their global presence; in collaboration with MyMusicTaste, their first crowdfunding project for their new photo book was launched in July 2018 and reached 555% of its funding goal. DREAMCATCHER is composed of seven female members: JiU, SuA, Siyeon, Yoohyeon, Dami, Handong, and Gahyeon.
Further information on the tour and ticket purchase can be found through https://mmt.fans/3Tv4/ or other social media channels of MyMusicTaste.
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The best weekends are those that are unplanned. This has been such a weekend. There was early morning coffee with biscotti in bed on Saturday and again Sunday; Saturday breakfast at a French style cafe with friends, Linda and Mac; all other meals eaten out also; antique shopping on Saturday in the neighborhood; reading; watching the video, Becoming Jane; then Sunday afternoon projects.
Projects: Tall husband repaired a nasty assault to our grass and sod by some workers who apparently had been looking for a utility line on the city easement in front of The Bunny Bungalow. I finished stripping and sanding a child's vintage chair which is now ready for a dark stain.
Antique finds: We found a wonderful leather-bound 1776 French book at Jacques Antiques. Then we could not resist the whimsical magnetic French ants at Thompson+Hanson. Our final find was an Arts & Crafts lamp table from Heights Antiques on Yale.


The author of the ancient treatise On the Sublime took a strong stance on such questions, stronger, perhaps, than has been recognized. In what purports at first to be a handbook on rhetoric, Longinus gradually makes the case that the literary experience of the sublime has profoundly enriching and liberating effects on the individual. Without such experience, the soul shrinks and withers, never attaining its true greatness. The sublime, moreover, is not "ineffable"; it can be recognized and analyzed, and perhaps given expression in new literature, using the techniques illustrated in the treatise.
Thus, below the surface of this ostensibly circumscribed treatise is an implicit educational theory that speaks both to Imperial Rome and to our own age.
The savagery of the practice is even more shocking in the Greek, for the word translated as "close confinement" is literally a "sack for holding the tongues," and the "tongues" are the thin reeds that make the overpowering sound that came from the ancient relative of the oboe, the aulos. The pygmies, in other words, are confined in a tiny container, where their natural vocal capacity, as well as room to stretch and grow, is denied them. Although later the author refers to this place of captivity as a prison (desmoterion), the image he prefers is that of this small pouch (glossokomeion) and the voiceless "tongues" within. The enslaved and confined pygmies have, in effect, been reduced to mute instruments of amusement for an entertainment-hungry populace. The image of such confinement leads to a powerful critique of slavery: "on the same principle all slavery, however equitable it may be, might be described as a cage for the human soul, a common prison house" (44.5). This is a "common prison," that is, one in which all are confined, the captives hauled to Rome from remotest Africa, their keepers, and all who are drawn into the spectacle.
To be sure, Longinus does not claim as his own the powerful image of the captives in their confinement; indeed it comes, he says, from an unnamed philosopher whose views he does not find convincing (44.1). The image, however, draws on ideas of enslavement and liberation already developed in the treatise and leads to Longinus' own explanation of the absence of truly sublime talent in his day. But what, one wonders, does this image and the debate within which it occurs have to do with the literary quality of the sublime (hypsos) to which the work is devoted? As we look more closely at the literary form of the work, these features become all the more surprising. What, we ask, are the mistreated pygmies doing in a treatise of this sort? To answer this question, we will have to look more closely at the literary form of Longinus' work.
Although the work is filled with astute observations and close readings of literary texts, it cannot usefully be approached as "literary criticism" in the modern sense of that term. Its primary aim is not literary analysis or private delectation, but something "useful" (chresimon) for people in civic life (andrasi politikois) (1.2). No wonder, then, that Longinus pays special attention to oratory, the literary form of greatest interest to those involved in public life. (Oratory in both Greek and Roman antiquity was regarded as a major literary form, whose techniques helped shape both poetry and other types of prose literature.) No wonder then that the treatise often cites and explicates the canonical orators, not least, the orator, Demosthenes. Other passages, including those from Homer—and other poets—are examined for what they can teach the aspiring orator. In chapter 15, for example, he draws on the great poets to illustrate the power that comes from the skillful use of images.
At the outset of the treatise, Longinus indicates he is writing within the tradition of technologiai, that is, treatises about a craft or skill (1.1).  The work thus carries on the tradition of rhetorical how-to-do-it treatises that began in the fifth century before our era, with the shadowy Corax and Tisias, and those that, thanks to the criticisms of Plato, are far better known—teachers of rhetoric such as Protagoras, Hippias, Gorgias, and other "Sophists." (As is well known, the word sophists in ancient Greek need not imply deception; it simply denotes a professional teacher of rhetoric, whose services were much in demand in ancient Athens and other democratic cities.  ) The tradition continued through the Hellenistic, Roman, and Byzantine periods. It was still flourishing in the tenth century of our era when the earliest and best of the surviving manuscripts of On the Sublime, Paris 2036, was copied.
Longinus, it is clear, is well aware of this tradition. He may even have written such a manual himself.  The first few pages of On the Sublime, moreover, speak in practical, utilitarian terms, and identify the treatise as a technologia. Only gradually does it move beyond the limits of such treatises. At the outset, it asks to be approached in part as a "technology of the sublime" (2.1 f), that is, as a practical guide designed to show the aspiring orator or writer how to launch thunderbolts that will stun his audience into earnest submission. This technology is built on the conventional foundation for oratorical achievement, the capacity for powerful speech (8.1). It uses, moreover, the specialized vocabulary and analytical techniques of ancient rhetoric—for example, "amplification" (auxesis) in chapters 11 and 12. It may then be viewed as an effort to build on this tradition by developing the idea of "the sublime" already brought into circulation by Longinus' predecessor, Caecilius of Calacte (1.1).
By casting his discussion of the sublime in the mold of a rhetorical treatise, Longinus does two things. First, he establishes the tension or paradox that underlies the whole treatise—the idea that something that appears transcendent can be realized through mundane means. Second, he emphasizes that the importance of the sublime is in the first instance rhetorical; it helps the orator achieve a moment that "scatter[s] everything before it like a bolt of lightning and reveal[s] the full power of the speaker at a single stroke" (2.4). For this purpose, the treatise provides examples both of passages that achieve this effect and of those that attempt it but fall short.
The writing of a rhetorical techne was still a fully respectable undertaking in the Roman Empire when, whatever its exact date, this treatise was composed. At the end of the day, anyone who could expand this venerable tradition with a richer vocabulary or new techniques could leave the study feeling pride and accomplishment. But in the middle of the night, doubts or cultural warfare might trouble the sleep. Rhetoric had long been subjected to powerful scrutiny, not least by Plato and his followers. His criticism of rhetoric, perhaps most powerfully articulated in the Gorgias, can be generalized to any technology. Since rhetoric, the speaker's technology, can be used for either good or ill, it is not, in Plato's view, an end in itself, but must be subordinated to moral principles.
Teachers and theorists of rhetoric have tried to find a satisfactory resolution to the tension between rhetoric and philosophy, or at a more general level between power and morality, beginning as early as Plato's Republic and his contemporary Isocrates, and continuing through Quintilian's reaffirmation of a dictum of Cato the Elder, that the good orator must be a vir bonus dicendi peritus (qtd. in Quintilian 12.1), that is, someone both morally good and skilled in speaking.
At the very outset of the work, Longinus has made an even more dramatic move away from conventional rhetoric.
… the sublime consists in a consummate excellence and distinction of language, and … this alone gave to the greatest poets and prose writers their pre-eminence and clothed them with immortal fame. For what surpasses natural ability leads listeners not to persuasion (peitho) but to ekstasis (1.3, Fyfe's translation, modified).
But what does he mean by this extraordinary assertion? What does he mean by ekstasis?
From ekstasis, we derive English "ecstasy," a drug, a kind of euphoria, a hyperbole for pleasure and excitement. For the ancients, the word pointed in quite different directions. While the word has technical uses in medicine and other fields, its etymological sense, "standing away from something," often comes to the fore in discussions of extreme varieties of physical or religious experience. In such cases, it was commonly thought that a person's own breath or spirit (pneuma) had gone out from him or her. The next stage might be that some other spirit entered in. This state is now commonly referred to as "possession," that is, a state in which a person feels that he or she has been taken over by a divinity who may use that person's body to speak or act. The entrance of the divinity might also be called by a counterpart term, enthousiasmos, from which the English "enthusiasm" is a pale derivative. The Greek term is a combination of en, in, and theos, god.
The entrance of the divinity might involve spasms, frothing at the mouth, seizures similar to those in epilepsy, known in antiquity as the "sacred disease." Sometimes the possessed person would deliver prophecies, in prose or even in verse. This is perhaps the best way of approaching the prophecies emanating from the prophetess at Delphi, and from the Cumaean Sibyl and other famous and frequently consulted oracles in antiquity. The most familiar modern analogy may be the speaking in tongues by Pentecostals and others.
The expression of intense emotion, in other words, brings listeners to a state analogous to possession in a religious cult. They experience something similar to what Pentecostals today might call the Holy Spirit. The metaphors in each case are not about some attenuated "spirituality," but an intense physicality. Participants feel the breath of a divinity. It fills them as they let out their own breath and let in the divine.
The language of religious possession recurs throughout the treatise. In chapter 10.3, for example, Longinus extrapolates from the language of a poem by Sappho that the poetess was inspired as if possessed by Apollo (phoibatai).  A little later, in discussing Demosthenes' speech, On the Crown, Longinus uses a related word as he imagines the orator: "… as it were suddenly inspired by a divinity and, in effect, seized by Apollo (phoiboleptos)" (16.2). But again three little syllables, "as it were" (kathaper), draw the line between what Longinus sees in Demosthenes and true religious frenzy. Longinus is not suggesting that the effect of sublime literature is to create a moment of religious ecstasy in either speaker or audience. Rather, metaphors drawn from religious possession provide him with a discourse that was not available in the traditional technical vocabulary of rhetorical instruction.
Vocabulary drawn from ancient religion provides an instrument of great value to Longinus in his discussion of the ability of well-crafted language to astonish and overpower an audience. But religious-like terminology in On the Sublime is not limited to this purpose. In the form of "soul talk," it reaches more broadly and more deeply. It allows Longinus to begin an exploration of the effects of sublime language in the deepest parts of our being.
Note, for example, how in discussing the arrangement of words, Longinus extends an analogy between oratory and melody in music. He alludes at first to an instrument widely thought to induce frenzy, the aulos (the reed instrument, similar to the oboe, mentioned at the beginning of this essay): "Does not the aulos ... induce certain emotions in those who hear it? Does it not seem to carry them away and fill them with divine frenzy?" (39.2). Longinus then uses the example of the aulos to suggest that skillfully arranged language in a speech—"which is a kind of melody in words"—can "take hold not of the listener's ears alone but of his very soul" (39.3). The effect reaches far beyond persuasion. It is like a spell cast upon us. But this is white magic, not black, for it turns us towards what is "weighty, deserving of respect, and sublime" (39.3).
This ability of the sublime to lift up the soul can even bring mortals close to the divine, as Longinus indicates in chapter 36.1, "The sublime raises one up close to the lofty mindedness (megalophrosune) of God" (my translation).
Here, as so often, Longinus' discussion of the soul turns on a central axis in the work, a polarity at one end of which is greatness or height and at the other meanness and lowness. Since in Greek, words compounded from mega can convey height as well as mass, "soul talk" is height talk. These words are part of a metaphorical nexus that ties together images of elevation, verbs of lifting up, and, of course, the sublime itself; hence the translation "lofty mindedness" just used for megalophrosyne. This nexus can easily be obscured by translations that speak blandly of "greatness" or "great writing" when the treatise is concerned with ideas of reaching upward, tallness, loftiness. The sublime (to hupsos) is, after all, a word for height, not mass.
Longinus' thinking about the soul becomes clear when the vocabulary and imagery of height are kept in view. In discussing Euripides, for example, Longinus concedes at the outset that the tragic poet was not megalophues (5.3)—he lacked a natural inclination toward the grand and lofty—but rather, suggests that Euripides successfully forced himself toward such qualities. Longinus then supports this view by citing several passages, including one from the lost play, The Phaethon. In this play, Helios allows his son to drive the chariot of the sun—with catastrophic results. Longinus asserts that the soul of Euripides shared the perilous flight of those winged horses. "It could never have imagined such things if it had not run neck and neck with those heavenly doings" (15.4). The emphasis on the soul in this passage is doubly interesting. Longinus clearly thinks that it is the soul that makes it possible to imagine the situation. In addition, the image of the soul reaching up to heaven is not a new thought injected at the end of the analysis of Euripides, but is implicit in the "greatness or loftiness" language of the term megalophues, used at the very outset of the discussion.
The "soul talk" in the treatise points toward an educational theory. To be sure, the full scope of the theory is left implicit for the most part, and is largely eclipsed by the concentration on rhetoric. Rhetorical training was a central part of Greek and Roman education for two millennia, from Classical Athens to the fall of the Byzantine Empire.
Indeed in late antiquity and the early Byzantine period, Greek education by and large avoided the relegation common in Western Europe, of rhetoric to one of three preliminary educational roads (the trivium, consisting of grammar, rhetoric, and logic). It was rather one of the most prominent of a range of skills (technai) widely regarded as important for the society. In 425, for example, when Theodosius established in Constantinople a pandidakterion, the first "university" in Europe, there were thirty-one chairs: ten each in Greek and Latin grammar, two in law, one in philosophy, and eight in rhetoric.  There were, apparently, no chairs in medicine or theology, nor in what in the West became the quadrivium, that is, arithmetic, geometry, astronomy, and harmony. The quadrivium and trivium, as their Latin names suggest, were developed in the West, probably in the fifth century of our era, flimsy, one might suspect, against the flood of barbarism, which rose more swiftly and more disastrously in the West than in the East. In the Greek-speaking East, after grammar, rhetoric ruled supreme.
While Greek culture was always deeply concerned with paideia, that is, education in all its aspects, very few works dedicated to that subject were composed. The art of rhetoric, by contrast, was the subject of many treatises and discussions. Against this background, a few comments in On the Sublime stand out in high relief. While Longinus shares the adulation of rhetoric so widespread among his fellow Greek speakers, he hints at the outset of his work that he intends to address the topic of education more broadly. Longinus criticizes his predecessor, Caecilius of Calacte, for failing to "deal with the means by which we might be empowered to lead our natural capacities toward some significant progress in greatness and loftiness" (eis posen megethous epidosin) (1.1, my translation). He drops the topic for the time being, perhaps because he needs first to clarify what he means by "greatness and loftiness," which, as we have seen, is closely linked to the sublime. That clarification emerges in part through his discussion of how Euripides forced (prosenagkasen) his nature "into the tragic mould" (15.3). Borrowing a term often used for heroes and others who undergo great labors, Longinus calls Euripides philoponotatos, "the greatest lover of toil" (15.3).
But hard work cannot be the whole basis of education. Nor is it simply exposure to, or analysis of, the passages he considers sublime. That is too passive and too easy. Plato, he notes, points in a different direction—to an active process, and a competitive one as well, involving two crucial components—imitation (mimesis) and rivalry (zelosis): "What is this road and what is it like? It is imitation and rivalry of the great prose writers and poets of the past" (13.2, my translation). Mimesis is frequently used in ancient discussions of literature to describe the relationship between writer and subject matter or writer and a tradition on which he or she draws. It is clear that for the Greeks, such imitation was not an attempt at exact replication, but adaptation—creative restatement. But what of zelosis, the word from which English derives both "zeal" and (in all probability) "jealousy"? The translation "rivalry" catches only part of the meaning since the Greek term reflects the motivation behind mimesis—driving ambition, competition, and sometimes envy as well.
What does it mean to be a "rival" of one of the great writers of the past? Longinus means—as do many ancient authors who use these terms—surpassing the classics, outdoing models of acknowledged eloquence and wisdom. Longinus' purpose, we see once again, is not to write "literary criticism" but to help others—his contemporaries, his students perhaps—to write and speak at the highest possible level. In today's world, he might feel more comfortable in a creative writing or perhaps even communications program, rather than in English, comparative literature, or classics. He would not, if I read him correctly, be satisfied if a student wrote a fine critical essay; he would want to hear words that thunder louder than Demosthenes, or to read a passage even grander than Homer.
In this passage, in fine rhetorical fashion, Longinus corrects himself, saying we are not onlookers but contenders, competitors in the games, seeking to be honored. That impulse is built into us. It is part of our souls. Implicitly it makes us admirers and rivals of the achievements of other contenders, past and present.
Longinus is not alone in drawing his imagery, and perhaps his theory, from athletics. Theon of Alexandria in the first century of our era developed rhetorical instruction based on progymnasmata—exercises requiring the pupil to produce speeches of various types on subjects drawn from history and mythology. Later Aphthonios of Antioch developed a textbook with exercises in fourteen different categories such as encomium, fable, maxim, confirmation, refutation, ekphrasis, and invective.  The athletic imagery in Longinus parallels that of progymnasmata and evokes further questions. What happens, after all, to the contestant in such a setting? The body is stretched and strengthened; it grows stronger, taller, more muscular, and more vigorous. By analogy, we might expect, the soul when it imitates, and then surpasses its models, should be ever more vigorous and reach ever higher. Ultimately, this kind of athlete becomes a person of true loftiness of spirit (megalopsychos).
One can readily imagine the treatise concluding not long after the image of the competitor striding into one of the great pan-Hellenic festivals. One part at least of a powerful, ambitious, educational theory is now before us. The student must not get away with recognizing, analyzing, praising great writing. Even mimesis, creative adaptation, by itself is not sufficient. One must surpass the past.
To stop at this point, however, would be to avoid difficult questions. What prevents such zelosis? Why is it so rare? The answer to that question requires us to look at the other end of the axis around which the treatise turns—the downward tendency toward corruption and the wasting away of the soul.
In its final pages, having moved from the modest genre of rhetorical handbooks to a powerful and evocative image of the pan-Hellenic festival, the treatise metamorphoses again, this time into a dialogue or debate. An interlocutor steps in, an unnamed philosophical friend of the author. Although such antilogies are a well-attested feature of ancient debates, they are not the way rhetorical handbooks went about presenting their material. They belong, in other words, to a different genre. And in On the Sublime, as the genre changes, so does the thrust of the argument. Longinus now confronts a problem in the theory behind the first part of the treatise. How are we to explain the absence of truly sublime literature in the present age?
The anonymous philosopher's conclusion is clear—all slavery imprisons our souls. No wonder then, since all are entrapped in the benign autocracy of the Roman Empire, that no truly sublime literature results.
The image of the sinking ship replaces that of the caged pygmies, and drives home Longinus' own critique. His well-heeled, well-educated readers—not some captives from a far off land—are the true slaves and the ones who are pressed downward. And we are ourselves (for Longinus uses the first person, not the third) the cause of our misery since we have chosen a life of pleasure and greed. Not content to rely on the image of the shipwreck, Longinus launches a whole fleet of new metaphors. Greed is a sickness, and not just any sickness but one that makes its victims shrink and wither (nosema mikropoion); we waste away, malnourished, because of it. Greed inverts the proper relation of man and god. No longer does a divinity come inside us and inspire us; rather we go out and make gods (ektheiasantas) of the evil that descend from wealth. These evils, among them personified Extravagance, march into our cities and our homes, once Wealth has opened the gates for them. They nest there, like noxious birds, and breed their nestlings, Swagger (alazoneia), and Delusion (tuphos) and Luxury (truphe). These in turn, if they reach maturity, breed Hybris, Transgression (paranomia), and Shamelessness (anaischyntia), the inexorable masters of our enslaved souls (44.7).
And what is the end of this? Greatness of soul withers and starves to death (phthinein de kai katamarainesthai ta psychika megethe) (44.8). Under such circumstances the soul can not reach to the sublime nor can greatness flourish.
Is, then, the experience of the sublime and of its results, greatness of soul and sublime writing, impossible in an age enslaved by wealth and pleasure? Longinus holds out little hope: "This must inevitably … happen …" (44.8); "... the whole life of each one of us is now governed wholly by bribery … we have sold our souls for profit …" (44.9). Amid all this—if we still possess any grandeur of soul—it loses its zeal (azela ginesthai) (44.8). And although the castigation becomes slightly less universal, applying to "all but a few of us" in 44.11, there is no hint that studying great literature, or experiencing the sublime, will free us from our slavery to wealth and pleasure. Indeed the relationship between freedom and education seems just the opposite: we must first free ourselves from addiction to wealth and pleasure for then, and only then, is there some chance that mimesis and zelosis will do their work and we might achieve, even in the present dismal age, some grandeur and loftiness of soul.
Is even that too optimistic? Are we, ancient Romans and contemporary Americans alike, hopelessly enslaved by "the emotions (ta pathe) that garrison our lives?" (44.6). Longinus' answer depends on his understanding of the emotions, and perhaps, of the effect that the experience of the sublime has on the audience, even in adverse cultural circumstances. When the sublime induces ekstasis, for example, are we temporarily freed from emotions that might otherwise drag us to lower levels of experience, expression and action? Can the Socratic cross-examination, the Platonic dialectic liberate us from base emotions if used consistently and forcefully enough early in an education? My suspicion is that the treatise went on to discuss the emotions along the lines suggested, but after promising a discussion of the emotions, the manuscripts end in mid-sentence.
Much remains to be resolved when the manuscripts of On the Sublime break off, but clearly its author has answered at least some of the questions the editors of this collection have put to him. In his view, even the most sublime passages of literature are capable of identification, explication, and evaluation. Longinus not only implies, he demonstrates, that there is nothing "ineffable" about the sublime.
Prosecutor: Your honor, I charge the defendant, Longinus, author of the scurrilous tract On the Sublime, with fraud, and the corruption of the young. He has misrepresented his work as a handbook of rhetorical instruction when it is in fact an attack on our culture and its most deeply held values. It turns out to be a manifesto that will mislead all who read it, not least our young people.
Judge: How plead you, Longinus?
Longinus: Proudly guilty as charged, your honor. I contrived a treatise that looked like a rhetorical handbook and transformed it into something much more interesting and important. If this is fraud or misrepresentation, I am guilty. If its effect is to displace an education based on self-gratification, and avarice, then I will happily pay the penalty.
Judge: And, Mr. Prosecutor, what penalty do you seek?
Prosecutor: Exile, your honor. Exclusion from the company of all who teach and all who learn.
Judge: The court will need to determine whether there was intent to deceive.
Longinus: Objection, your honor. Deception has not been established.
Prosecutor: Longinus has himself admitted that he "transformed" his treatise into something quite different. It turns into a diatribe against the existing social order. Only malice aforethought can account for such a vicious attack on our society.
Longinus: I transformed the literary form of my writing because my purpose is transformation—the transformation of those who read my work.
Prosecutor: Transformation? I submit, your honor, that the only transformation he had in view was the transformation of his bank balance. But, as your honor has no doubt noticed, the defendant has admitted his deception, and its intended effects on his readers. I therefore, ask for a directed verdict of guilty.
Judge: Lest anyone accuse us of being prejudiced or peremptory, the court will overlook the defendant's admission and enter a plea of "not guilty" on his behalf. The prosecution may present its case.
Prosecutor: The case is quite simple, your honor, but not as simple as the defendant's claims in this absurd pamphlet. In order to sell copies of it, the defendant has made repeated fraudulent claims about the study of literature. He contends that the purpose of such study is to encounter the sublime or the ineffable, when everyone knows the purpose of literature is entertainment.
Longinus: I admit that I believe that literature has a higher purpose than entertainment. I also admit that in my writings I have used words to speak about words. I notice, however, that the prosecution also uses words to show what may or may not properly be said about literature. Clearly then literature is not ineffable, nor incapable of being analyzed.
Prosecutor: Objection your honor. Double negatives should be banned from the courtroom as unnecessarily confusing.
Longinus: A mere litotes, your honor.
Judge: Objection sustained. The defendant will avoid rhetorical figures and confine himself to language simple enough to be understood by the prosecution.
Longinus: Then let me state that I have never said the sublime was "ineffable." In fact, I think such language deserves no place in the study of literature. In fact, since the term applies properly only to God and his works, your honor, may I bring a charge of blasphemy against the prosecutor?
Judge: The court does not recognize such an accusation. Return to the case at hand.
Prosecutor: I will allow the matter of the sublime and the ineffable to pass. No one cares in any event about such pedantic distinctions. The point is not whether sublime passages can be identified, explicated and analyzed using the flimsy and implausible techniques promulgated in this pamphlet. That is not the issue.
Judge: Perhaps the prosecution will explain to us, then, what is the issue. But may I remind you, counselor, that the prosecution must show that someone has been or will be harmed by the defendant's conduct.
Prosecutor: Of course, your honor. The defendant's conduct has the effect of wasting time and energy on the study of literature. Follow Longinus' course and you—that is our society, not you personally your honor—will end up displacing a truly practical education, one based on the three F's: facts, figures and formulae.
Judge: If I follow you correctly, counselor, all studies that are not based on these three F's should be prohibited—not just Longinus' approach to rhetoric but philosophy, history, music, and the other arts. Would that include the study of law?
Prosecutor: With all due respect, your honor, I had hoped that it would be clear that my claim is much narrower. I only claim that Longinus' approach to literature and to education puts the student on a slippery slope. A few innocent sounding observations about Homer, Demosthenes or some other deservedly obscure author lead to dilettantism, and the waste of time and resources. These are drawn away from other more practical instruction and from the profit motive that has made our society great and prosperous. Those who follow Longinus will end up unemployed, alienated, and impoverished, with heads in the clouds and purses empty.
Longinus: Bravo! Well spoken! You show a fine capacity for lofty oratory, Mr. Prosecutor. I am honored to be accused by you.
Judge: Silence. I warn you, Mr. Longinus, against further interruptions. Do you wish to call any witnesses, counselor?
Prosecutor: None is needed, your honor. I myself provide the necessary proof of the fraudulence of the treatise. In it the accused contends that by contemplating and analyzing certain passages one can experience the sublime and thereby become a more effective orator or writer. Yet in my reading of widely appreciated and highly successful authors of the present day I have never encountered passages that could conceivably be called "sublime," nor has such reading ever provided me with any practical benefit apart from entertainment. Many distinguished literary critics have written to confirm my judgment. On this basis, the prosecution rests its case.
Judge: Your argument cuts to the heart of the matter, counselor. I am impressed by how little you have learned from the study of literature.
Prosecutor: Many others have studied more intensely and gained even less than I have.
Judge: I congratulate you for your modesty, counselor. But let us see now what response the defendant will make, unless, of course, he is dumbfounded by the sublimity of the prosecution's argument.
Longinus: On the contrary, I am always inspired by true eloquence. You see, I believe, that sublime literature can bring our souls very close to the grandeur of God.
Prosecutor: "Souls!" Your honor, you have heard it from his own mouth—the defendant has violated yet another legal principle—the constitutional separation of soul talk and literature. By asking one further question I will show how seriously this aggravates the defendant's misconduct.
Prosecutor: Do you have a valid license to use the word "soul"? I point out to the court that all such licenses expired two hundred years ago and have not been renewed.
Longinus: Guilty again. I have no such license, nor would I ever apply for one. But in turn I ask you, distinguished prosecutor, one question: can you show that two hundred years without "soul talk" have enriched the understanding of literature, or our lives?
Prosecutor: It has freed us from all sorts of error, notably religious dogma and what you call inspiration and enthusiasm.
Judge: I must remind the defendant that it is he who is on trial here, not the prosecutor. You may respond to the defendant's comments if you choose, counselor, but you are under no obligation to do so.
Prosecutor: Thank you, your honor. I will simply ask one further question, one that brings us to the core of the matter, and to our reason for bringing this case in the first place. You said, Mr. Longinus, that sublime literature can bring us close to the grandeur of God. Do you believe that one can measure how close one has thereby come to this "God" of yours?
Prosecutor: Aha! You admit then that all this "soul talk" is vague and immeasurable. Head in the clouds again, eh, Mr. Longinus?
Longinus: I have no way to measure closeness to the divinity, but I believe we know some of the steps that can bring a person closer to such experience and can determine whether those steps are being taken or not.
Prosecutor: I presume that such steps include reading sublime literature and talking about what makes it sublime. A waste of time, to be sure, but even worse, tell me this, how could one possibly know whether these steps lead anywhere?
Longinus: Here is one way. You might ask how often there are sublime passages in your own work, or that of students who have studied with you. This will not let you measure your distance from the grandeur of God, but you will in that way have some indication of whether the experience of the sublime is bearing fruit.
Prosecutor: We are talking about the study of literature, not creative writing.
Longinus: If those two are to be detached from one another, you might prefer I told you another way?
Longinus: Yes, the really important one. The reason we value the sublime is that it nurtures a loftiness and grandeur of soul—what we call megalopsychia. When the study of literature no longer had the soul in view, this term went out of circulation. But I am sure that you, learned counselor, understand what is meant by it.
Prosecutor: And much, much more.
Longinus: Look around you, then. Is generosity and courage and boldness and "much, much more" what you see? Are these the qualities you find among your colleagues? When you sit in the company of the most learned or the richest or the most powerful do you find megalopsychia, or pettiness, meanness, narrow mindedness, pedantry, greed? Which is it? The sublime, you see, nurtures grandeur of spirit and lifts us up; it helps us free ourselves from enslavement to delusionary pleasures and desires. You might say that sublime literature, properly studied, is an instrument for a truly liberating education. That is the kind of transformation I had in view in writing the treatise.
Prosecutor: Your Honor, the defendant has several times admitted his guilt. We do not need to listen to his sermonizing. He has clearly violated the protocols of literary study and perpetrated a theory of education that will do great harm to young and old alike. I ask for a directed verdict of guilty as charged.
The judge found this a difficult case. After re-reading On the Sublime he concluded that Longinus had made grand and unverifiable claims. On that basis he found him guilty of fraud. He was also troubled by the author's evident hostility to the imperial regime and to the values of an affluent and pleasure-seeking society. But he doubted that Longinus' critique would truly corrupt the young. In lieu of exile he sentenced him to many years of community service as night watchman in the local library. Even now late at night one can sometimes hear exclamations of delight, when in the intervals between his solitary rounds he finds yet another example of the sublime.
"Aelius Theon." Wikipedia: The Free Encyclopedia. Wikipedia, 9 Aug. 2010. Web. 22 Sept. 2010.
enko, Vol. 1. 1991. Print.
Aristotle. Problems: Books 22–38. Rhetorica ad Alexandrum. Trans. W.S. Hett and H. Rackham. London: W. Heinemann, 1937. Print. Loeb Classical Lib. 317.
"Byzantine University." Wikipedia: The Free Encyclopedia. Wikipedia, 16 May 2010. Web. 22 Sept. 2010.
Longinus. "On the Sublime." Trans. W. Hamilton Fyfe. Aristotle: On Poetics; Longinus: On the Sublime; Demetrius: On Style. London: W. Heinemann. Print. 119–254. Loeb Classical Lib. 199.
Patillon, Michel, and Luc Brisson, eds. Longin: Fragments, Art rhétorique, Rufus, Art rhétorique. Paris: Les Belles Lettres, 2001. Print. Collection des Universités de France publiée sous le patronage de l'Association Guillaume Budé.
Quintilian. The Orator's Education Books 11–12. Trans. Donald A. Russell. Cambridge: Harvard UP, 2001. Print. Loeb Classical Lib. 494.
Radermacher, Ludwig. Artium Scriptores. Vienna: Austrian Academy of Sciences, 1951. Print.
[ back ] 1. Unless otherwise indicated, I use the translation of W. Hamilton Fyfe in the Loeb Classical Library.
[ back ] 2. Cf. 12.1.
[ back ] 3. The evidence about such treatises was gathered by Ludwig Radermacher, Artium Scriptores (9–10).
[ back ] 4. The surviving portion of an ars rhetorica ascribed to a Longinus is now accessible in Patillon and Brisson, fr. 48.
[ back ] 6. The "Byzantine University" entry in Wikipedia provides a useful discussion.
[ back ] 7. See the "Aelius Theon" entry in Wikipedia and the "Aphthonios of Antioch" entry in the Oxford Dictionary of Byzantium for more information.


text:
from neutron.api import extensions
from neutron.api.v2 import attributes as attrs
from neutron.extensions import l3

EXTENDED_ATTRIBUTES_2_0 = {
    'routers': {l3.EXTERNAL_GW_INFO:
                {'allow_post': True,
                 'allow_put': True,
                 'is_visible': True,
                 'default': None,
                 'enforce_policy': True,
                 'validate':
                 {'type:dict_or_nodata':
                  {'network_id': {'type:uuid': None, 'required': True},
                   'enable_snat': {'type:boolean': None, 'required': False,
                                   'convert_to': attrs.convert_to_boolean}}
                  }}}}

class L3_ext_gw_mode(extensions.ExtensionDescriptor):

    @classmethod
    def get_name(cls):
        return "Neutron L3 Configurable external gateway mode"

    @classmethod
    def get_alias(cls):
        return "ext-gw-mode"

    @classmethod
    def get_description(cls):
        return ("Extension of the router abstraction for specifying whether "
                "SNAT should occur on the external gateway")

    @classmethod
    def get_namespace(cls):
        return "http://docs.openstack.org/ext/neutron/ext-gw-mode/api/v1.0"

    @classmethod
    def get_updated(cls):
        return "2013-03-28T10:00:00-00:00"

    def get_required_extensions(self):
        return ["router"]

    def get_extended_resources(self, version):
        if version == "2.0":
            return dict(EXTENDED_ATTRIBUTES_2_0.items())
        else:
            return {}

redpajama_set_name: RedPajamaGithub


text:
Answering your questions about wind energy
While wind energy has enjoyed growing success in many countries for several decades, it is a relatively new contributor to the power system here in Canada. As such, it is natural for people to have questions. As a responsible industry, we are committed to ensuring Canadians have the most up-to-date factual information on wind energy.
The Wind Facts pages contain facts and resources that address a number of areas of key interest to Canadians: how wind works, health, reliability, affordability and environment and wildlife.
Wind energy in Canada
More wind energy has been built in Canada between 2008 and 2018 than any other form of electricity generation, with installed capacity growing by an average of 20 per cent per year.
Wind energy currently supplies approximately six per cent of Canada's electricity demand, generating enough power to meet the needs of over three million Canadian homes. There are 299 wind farms operating from coast to coast, including projects in two of the three northern territories. In 2018, Canada's wind generation grew by 566 megawatts (MW) spread among 6 new wind energy projects, representing an investment of about $1 billion. The installed capacity of wind generation reached 12,816 MW in 2018.
Every Canadian province is now benefiting from clean wind energy.
Wind energy is one of the fastest growing major sources of new electricity around the world, with installations of more than 52,500 MW of new clean, reliable wind power during 2017. More than 90 countries have installed wind energy facilities, with the global leaders being China, the U.S., Germany, India, Spain, Brazil, the U.K., France, Brazil, Canada and Italy. The world's total installed wind energy capacity at the end of 2017 was approximately 540,000 MW.
Technology advances have made wind energy one of the lowest cost options available. Costs for wind have already plummeted 69 per cent since 2009 (Lazard 12.0) and are projected to continue falling precipitously (Bloomberg).
Hydropower Canada, Canadian Solar Industries Association, Canadian Wind Energy Association and Marine Renewables Canada came together with Clean Energy Canada to establish the Canadian Council on Renewable Electricity. The Council engages in research, collaboration and communications initiatives to encourage dialogue for increased use of Canada's abundant renewable-electricity resources. Download a copy of Powering Climate Prosperity: Canada's Renewable Electricity Advantage for the Council's recommendations on steps Canada must take to prevent average global temperatures from rising above two degrees Celsius.
The Trottier Energy Futures Project looks at the changes we can make today to build a low-carbon, sustainable energy future for Canada while taking into account economic, social and environmental concerns.
Globally, a collaboration initiative of energy research is trying to understand how individual countries can transition to a low-carbon economy through The Deep Decarbonization Pathways Project.
How a wind turbine works
Wind turbines work on the same principle that allows airplanes to fly. The wind doesn't push the blades, but passes over them. The resulting pressure difference between the upper and lower surfaces creates lift, which causes the rotor to turn.
As the blades of a wind turbine turn, the kinetic energy of the wind is converted into mechanical energy, which is transmitted through a drive shaft to an electrical generator in the nacelle. The resulting electrical current travels via underground cables to a substation, where it is converted to a higher voltage for the larger electricity transmission or distribution grid. From there, it's delivered to the electric utility and customers.
The blades typically start to turn when the wind speed reaches approximately12 km/h and shut down when the winds become too strong, usually around 88 km/h. That operating range means wind turbines produce electricity between 70 and 90 per cent of the time. How much they generate at any given point depends on the wind speed.
Wind farms are designed to last 25 years or longer and modern turbines require relatively little maintenance compared to other forms of electricity generation such as nuclear power.
More than 4,000 MW of Canada's wind generating capacity has been operating for five years or more, and as the country's turbine fleet ages, it is becoming increasingly important for leaders in the industry to collectively focus on strategies to maximize wind farm performance and strive for operational excellence.
A study commissioned by CanWEA in 2015 found the country's wind energy operations and maintenance market was expected to nearly double to $450 million in annual spending by 2020, bringing new jobs and investment to Canada.
Often at the end of their life, wind turbines are "re-powered", which involves replacing older equipment with newer technology; the re-powered wind farm will then last another 20 -25 years after that.
Wind energy is part of a "balanced energy diet" and is making a growing and positive contribution to Canada's energy supply mix.
Wind energy is a reliable source of power and studies have shown that when a utility diversifies its power portfolio with the addition of wind energy, it can meet demands more reliably.
Wind energy is a highly flexible form of electricity, and easily complements other sources of electricity such as hydro, solar or even natural gas.
As more wind energy is added to the energy system, the overall carbon dioxide emissions of the power grid will continue to drop.
Wind energy is helping to create a more modern, cleaner and flexible electricity system in countries around the world and here in Canada. With a world-class wind resource, we are just scratching the surface of our clean wind potential! Canada needs a variety of reliable, clean and safe sources of new energy to meet our growing electricity demand and to help reduce the impact of greenhouse gas emissions from our electricity sector.
According to Ontario's Independent Electricity System Operator (IESO), wind energy's contribution to that province's electricity system continues to climb, now meeting about 7.5 per cent of the province's electricity demand. Ontario was the first jurisdiction in North America to eliminate coal as a source of electricity generation.
Over 95 per cent of the electricity produced in Quebec comes from hydroelectricity, which means that the province is heavily dependent on a single source of energy. Recurring years of low runoff over the last decade have limited the energy and power available and required the addition of wind energy.
Wind energy prices continue to decline as the technology continues to improve, lowering the cost of wind turbines while at the same time increasing performance. Today wind turbines are more cost-effective and reliable than ever.
The International Energy Agency released a new study, IEA Energy Technology Perspectives 2017, in June 2017. The study predicts that renewable electricity generation will grow by 36 per cent between 2015-21, making it the fastest growing source of electricity generation globally. Onshore wind energy generation will almost double over this period. One reason for the expected growth is that record-low contract prices for wind energy were announced in 2016. The study clearly shows that growth in wind energy as well as other clean energy sources will be necessary if the goals of the Paris Climate Change Agreement are to be realized.
IRENA's REsource provides easy and free access to the largest amount of renewable energy information and data to date. REsource enables users to have rapid access to country-specific data, create customized charts and graphs, and compare countries on metrics like renewable energy use and deployment. It also provides information on renewable energy market statistics, potentials, policies, finance, costs, benefits, innovations, education and other topics.
Hydro-Québec demonstrates how wind works and explains the relationship between wind turbines and hydroelectric dams.
In Ontario, the sustainable and economic integration of wind energy is being addressed by organizations such as the IESO and Ministry of Energy.
Wind Power in Ontario: Track wind's output!
Energy Systems Integration Group (ESIG; formerly UVIG) maintains a resource library focused on the design, operation and maintenance of integrated energy grids. Articles of interest include 'Energy Systems Integration: The Next Step Toward Sustainable Energy (May 2018)' and 'Comparison of Ancillary Services from Conventional and Renewable Plants (April 2018)'
CanWEA's Pan-Canadian Wind Integration Study assesses the operational and economic implications of integrating large amounts of wind energy into the Canadian electricity system.
Utilities and Wind Power: information from the American Wind Energy Association.
Wind Energy and Bat Conservation Review
The Secret is Out.
Wind is In. brochure provides information and resources to the most commonly asked questions about wind energy.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Change values of an object using typescript? I'm having trouble changing values inside an object in typescript. I have the following interface:
interface paginationTypes {
  page: number | undefined,
  rowsPerPage: number | undefined,
  rowsNumber: number | undefined
}

Here I declare the default values:
const pagination: paginationTypes = {
  page: 0,
  rowsPerPage: 0,
  rowsNumber: 0
}

And here I try to assign new values. But, the values end up not being overwritten:
function onRequest(props: unknown){
  users.value.loading = true
  const filter = props.filter;

  setTimeout(() => {
    const returnedData = fetchFromServer(
      filter,
    );
    //@ts-ignore
    rows.value.splice(0, rows.value.length, ...returnedData)
    pagination.rowsNumber = users.value.meta.total
    pagination.page = users.value.meta.current_page
    pagination.rowsPerPage = users.value.meta.per_page

  }, 1500)

  users.value.loading = false
}
onMounted(() => {
  onRequest({
    pagination: pagination,
    filter: undefined
  })
})

redpajama_set_name: RedPajamaStackExchange


text:
Game Pigeon Won't Load
My Game Pigeon Won't Load
Game Pigeon Won't Loader
Game Pigeon Won't Loaded
Game Pigeon Won T Download
Game Pigeon Won't Loading
Many times you can troubleshoot the experience yourself by performing the following maintenance. One or more of these steps may resolve the issue if a game will not load or play as expected. Close the game, log out of Facebook and clear your browser's cache.
Before it can load a game,higan requires that all the game's databe stored correctly inthe Game Library.For regular gamesthis is simple,but some games require special treatment,especially those that make use ofunusual hardware.
Regular games¶
higan's importing tool, icarus, can import gamesin the most commonly-used formatsfor each supported console,and also those same formats inside .zip files(as long as the .zip file contains only one game).More advanced compression formatslike RAR or 7-zip are not supported.
To import a game,open the Library menu,choose "Load ROM File …"to open a filesystem browser,choose the ROM file of the game you want to play,and it will be imported into the library and start playing.
Note:If you want to import many games,run icarus directly,or choose "Import ROM Files …"from the Library menu(which just runs icarus anyway).See the icarus documentation for details.
To play a game for a particular console from your library,open the Library menu,pick the console manufacturer sub-menu(Nintendo for the Super Famicom,Bandai for the WonderSwan,etc.)then choose the appropriate console menu item.A filesystem browser will appearlisting all the games in the libraryfor that particular console.Select the game you want to playand click the Open button,or just double-click the game,and it will begin playing.
Note:Sometimesthe NTSC and PAL variants of a particular consolebehave differently,or the Japanese and American variants.When choosing a game from the Game Library,a drop-down list in the bottom-right of the filesystem browserallows you to choose which regional variantof the console higan should emulate.For most consoles,higan can reliably guess which variant to use,and the list defaults to "Auto".
Games with co-processor firmware¶
Many games included extra chips inside the game cartridge,to provide enhanced capabilities of one kind or another.Sometimes,those extra chips were separate CPUsrunning their own separate firmware,and for those caseshigan requires a copy of the co-processor firmwareas well as the actual game data.Unfortunately,like games themselves,co-processor firmware cannot legally be distributed,so you'll need to obtaincopies of the relevant firmware datayourself.
To import a game that requires co-processor firmware,you must first combine the game data and the firmware into a single file.For example,let's say you want to import Super Bases Loaded 2 for the Super Famicom,which is stored in the file sbl2.sfcand requires firmware for the DSP1 co-processorstored in dsp1.program.rom and dsp1.data.rom.On Windows,you can combine them from the command-line like this:
On Linux,the equivalent command-line syntax is:
(note the use of >> to append rather than > to overwrite)
Note:For co-processor chips with multiple firmware files,you must put the "program" file before the "data" file.
Wikipedia lists which Super Famicom games use which co-processors,although not all co-processors require separate firmware.Once you've figured out which co-processor(if any)is used by the game you want to import,here's the firmware files you'll need:
cx4.data.rom 3072 ae8d4d1961b93421ff00b3caa1d0f0ce7783e749772a3369c36b3dbf0d37ef18
DSP1/1A
See Note 1
dsp1.data.rom 2048 0b5da6533e55852ee8fc397977ec5576c5b9f1fb2e05656d8f87123a121b076e
dsp1.program.rom 6144 269584b347a22953a2989494c850a7c1c027f4ca5add517a60e0c7d8833d0fac
DSP1B
dsp1b.data.rom 2048 8546cbac530830446bb8a277f6b139d4ad64d650bdbac7e4e150e2f095665049
dsp1b.program.rom 6144 2eccb54a8f89374911f7e2db48f1b4cde855655e28103f7bda2982a5b418a187
dsp2.data.rom 2048 3beef9bffdc1e84c9f99f3301d8bd3e520d2e62909a995320f9faeae8f46ec11
dsp2.program.rom 6144 62a2ef8d2d7db638f4ec0fbcebf0e5bf18a75ee95be06e885d9519a10487f0da
dsp3.data.rom 2048 7fe51796e9c97fee1fa2aab40592b7c78997f67dd00333e69d0f79a12f3cb69f
dsp3.program.rom 6144 aea7b622e7c1de346cb15d16afcbedf92b6798507e179f83ed2a4cff40d0e663
dsp4.data.rom 2048 ef3ffb4256dd896a60213269b4e2d3bdd120c97e2fd623bddabbf43c2be422af
dsp4.program.rom 6144 89b1826e6038be3a0ea0f923e85d589ff6f02dc1a1819fb2ec8c0cea5b333dcd
st010.data.rom 4096 dc7056a51b53993d7a8ba5bacf9501f785d2fce5e5be748e9ff2737c5938d4a5
st010.program.rom 49152 2c1f74bb5f466d81c64c326e71ac054489efe1abc9a5d6f91aac7747f2ddab67
st011.data.rom 4096 b5377d1bebe8adc507a024b6e2b9b8fdf4877e451da84fbad05dff4e4a70311e
st011.program.rom 49152 d90a5cda380e81cb9ba11a9da7539b173c49b31bedc7a3ac9c3c8b3f97e89e14
st018.data.rom 32768 b5377d1bebe8adc507a024b6e2b9b8fdf4877e451da84fbad05dff4e4a70311e
st018.program.rom 131072 d90a5cda380e81cb9ba11a9da7539b173c49b31bedc7a3ac9c3c8b3f97e89e14
Note 1:The DSP1 and DSP1A are physically different,but the firmware inside is identical.
Note 2:The DSP1B is very similar to the DSP1A,but fixes some bugs.Note that icarus' heuristics cannot distinguish betweena game that uses the DSP1and one that uses the DSP1B,so if it cannot find your game in its manifest database,it will assume it uses DSP1B.Many games work just as well with either variant,but Pilotwings requires the DSP1 firmware,while Ballz 3D requires the DSP1B.
If you try to import a gameusing the "Import ROM Files …" optionin the Library menu(or using icarus directly)but it does not include the correct firmware data,a window will appear saying"Import completed, but with 1 errors. View log?"(or however many games were lacking the correct firmware).If you press "Yes",a new window will appear listing the games that couldn't be imported,and what problem was detected:
[sbl2.sfc] ROM image is missing DSP1 firmware data
If you try to import a gameusing the "Load ROM File …" optionin the Library menubut it does not include the correct firmware data,nothing will happen,and higan will just sit therewith "No cartridge loaded" inthe status bar.
Once a game with co-processor firmware is imported,you can play it just like any regular game.
Satellaview games¶
The Satellaviewwas a satellite modem peripheralreleased for the Super Famicom in Japan.As well as the actual modem(designed to sit underneath the Super Famicom),it also included a cartridgewith software to control the modem,browse online services,and download games and data.This control cartridge was calledBS-X Sore wa Namae o Nusumareta Machi no Monogatari,which in English isBS-X The Story of The Town Whose Name Was Stolen.
The control cartridge had a slot that acceptedre-writable "memory paks",so that people could store the games and data they downloaded.A small number of games that did not use the Satellaview modemalso had a memory pak slot,so the game's publishers couldpublish extra content for the gamevia the Satellaview serviceafter the game's release.For the benefit of people who didn't own a Satellaviewsome read-only memory pakswere sold in retail storescontaining extra content for specific games.
Importing a game that has a slot for a memory pakis just like importing a regular game.
Importing a memory pak is like importing a regular game,but the name of the memory pak file must end in .bs(if it's in a .zip file,that's OK,but the name inside the .zip filemust end in .bs)in order for it to be successfully imported.Sometimes memory pak filenames end in .sfc,which will make higan try to import them asregular Super Famicom gamesand fail.Rename the file and it should work beautifully.
Playing a game that has a slot for a memory pakis just like playing a regular game,but after you have selected which game you want to playhigan will open anotherfilesystem browserto let you pick which previously-imported memory pakyou want to insert into the game.If you press "Cancel" at this point,the game will load without any cartridge in its memory pak slot.
If you load the control cartridge into higan,make sure the emulated Satellaviewis connected to the emulated Super Famicom's expansion portby opening the "Super Famicom" menu,selecting the "Expansion Port" sub-menu,and choosing "Satellaview".If the expansion port was previouslyconfigured with a different option,power-cycle the Super Famicom(also in the "Super Famicom" menu)to make sure the control cartridge will find the Satellaviewwhen it starts up.Note that higan's Satellaview emulation is not very accurate,so the control cartridge may not work as it should.
Playing a memory pak on its own doesn't make much sense,it's not a standalone cartridge.Play a game with a memory pak slot,and choose which memory pak you want when higan asks for it.
For more information about the Satellaview service,a translation patch for the control cartridgeand emulators that do a better job of Satellaview emulation,see the BS-X Project.
Sufami Turbo games¶
The Sufami Turbowas a special cartridge releasedfor the Super Famicom in Japan.The Sufami Turbo on its own does nothing,but it has two slots in the topthat accept Sufami Turbo mini-cartridges.The game in slot A is the one that actually plays,but some games can make use of additional datafrom a game in slot B.
Importing the Sufami Turbo cartridgeis just like importing a regular game.
Importing a mini-cartridge is like importing a regular game,but the name of the mini-cartridge file must end in .st(if it's in a .zip file,that's OK,but the name inside the .zip filemust end in .st)in order for it to be successfully imported.Sometimes mini-cartridge filenames end in .sfc,which will make higan try to import them asregular Super Famicom games,and fail miserably.Rename the file and it should work beautifully.
To play a Sufami Turbo game,load the Sufami Turbo cartridge like any other game.higan will open anotherfilesystem browserto let you pick which previously-imported mini-cartridgeyou want to insert into slot A.If you press "Cancel" at this point,the Sufami Turbo cartridge will boot without anything in slot A,which just displays an image telling youto turn off your Super Famicom,insert a game into slot A,and try again.If you chose a cartridge for slot A,higan will open yet anotherfilesystem browserto let you choose a mini-cartridge for slot B.If you press "Cancel" at this point,the Sufami Turbo cartridge will boot without anything in slot B.
Super Game Boy games¶
The Super Game Boy was a special cartridgereleased for the Super Famicom(and all its regional variants around the world)that allowed Game Boy games to be playedvia the Super Famicom's controllers and video output.The Super Game Boy does not emulate the Game Boy hardware,it physically includes all the Game Boy componentsso compatibility with Game Boy games is high.However, the Super Game Boy drives the Game Boy hardwarefrom the Super Famicom's timing signals, which meansgames play 2.4% faster than on a real Game Boy.
The Super Game Boy 2 was a Japan-only releasethat fixed the timing problem of the original Super Game Boy,and included a different set of default borders.higan supports the Super Game Boy 2 base cartridge,so you can use the extra borders,but does not yet emulate the timing changeso games still play slightly too fast.
Because the Super Game Boy cartridge includesthe original Game Boy hardware,it needs a boot ROM:
sgb1.boot.rom 256 0e4ddff32fc9d1eeaae812a157dd246459b00c9e14f2f61751f661f32361e360
SGB2
sgb2.boot.rom 256 fd243c4fb27008986316ce3df29e9cfbcdc0cd52704970555a8bb76edbec3988
To import the SGB base cartridge,you must first combine the base cartridge dataand the boot ROM into a single file,just likegames with co-processor firmware.Then you may import it like a regular game.
To play a Game Boy game in Super Game Boy mode,load the Super Game Boy cartridge like any other game.higan will open anotherfilesystem browserto let you pick which previously-imported Game Boy gameyou want to insert into the Super Game Boy.If you press "Cancel" at this point,higan will crash, so don't do that.
Note:Only games for the original, black-and-white Game Boycan be used with the Super Game Boy.Some games designed for the Game Boy Colorwere backward compatible with the original Game Boyand hence the Super Game Boy;see Playing Game Boy Color games in Game Boy modefor details.
MSU-1 games¶
The MSU-1 is a fictional expansion chipinvented by higan's author byuu,designed to allow the Super Famicomto stream data and audio.Although the MSU-1 is not specificto any particular storage medium,it gives the Super Famicom similar capabilitiesto CD-based add-onslike the Mega Drive's Mega CDand the PC Engine's CD-ROM²,such as CD-quality music and full-motion video.
Although the MSU-1 was invented for higan,it is now supported by other Super Famicom emulators too.The SD2SNES programmable cartridgeeven allows you to play MSU-1 games on a real console.There are a number of homebrew gamesthat make use of the MSU-1,and also mods for commercial Super Famicom gamesthat add higher-quality music and sometimes video.
One thing to be aware ofwhen importing an MSU-1 gameis that early firmware versions of the SD2SNEShad a bug that caused MSU-1 music to play too quietly.Skipping over the full details,the short version is this:
If offered the choice between "boosted" or non-boosted audio, you want the non-boosted version.
If an MSU-1 mod for a commercial game offers "emulator" and "hardware" versions of the patch file, it means the audio tracks are already boosted.
Some thirdparties have created replacement, non-boosted audio tracks for the most popular MSU-1 mods. If the mod you want to play has a replacement pack, use it with the "hardware" version of the patch.
Even without access to non-boosted audio tracks, it may be that the existing audio is only slightly boosted, so try the "hardware" version first, for best quality.
If the audio tracks are heavily boosted, the "hardware" patch may sound terrible, distorting and clipping, in which case try the "emulator" patch.
To import an MSU-1 game:
If you have a single, large file with the .msu1 extension, that is a pack for use with Mercurial Magic, which can automatically set up a game folder in the correct format. Go read Mercurial Magic's documentation instead of these instructions.
Otherwise, import the Super Famicom ROM with icarus, like a regular game.
If this is a homebrew game with MSU-1 support, there will probably be an ordinary ROM whose name ends in .sfc, which is the file you want to import.
If this is a commercial game modded for MSU-1 support, there will probably be a patch file whose name ends in .ips or .bps. Get a copy of the correct version of the commercial game, apply the patch with a tool like Flips, then import the patched file.
If there's "hardware" and "emulator" versions of the patch, see "One thing to be aware of…" above.
Find the game folder in the game library that icarus created when it imported the game.
Copy the MSU-1 data file into the game folder.
This should be named msu1.rom
If there's no file by that name, look for a file with a .msu extension and rename it to msu1.rom.
If there's no file ending in .msu either, create an empty file named msu1.rom.
Copy the audio tracks into the game folder.
If you have to choose between two sets of audio files, see "One thing to be aware of…" above.
These should be named track-1.pcm, track-2.pcm, … track-9.pcm, track-10.pcm, etc.
If there's no files with those names, there should be other numbered .pcm files that you can rename to match what higan expects.
If the .pcm files have no numbers in the filenames, there maybe a .bml or .xml file that lists which number goes with which file.
If there's no .pcm files at all, that's OK, this game probably just doesn't use the audio-playback feature.
Once the game folder is set up,playing an MSU-1 game is just likea regular game.
Patched games¶
The console emulation communityhas a long and vibrant history of game modding,or ROM hacking,including fan-translations,new levels for existing games,and more.Since distributing the modified versions of existing gameswould be copyright infringement,the changes are typically distributed as "patches",a file containing a list of modifications to make,that can be automatically applied by a "patcher" toollike Flips.
higan does not support soft-patching,so if you want to play a patched game in higan,you will need to use a patcher to apply it yourself,creating a new, patched copy of the game.
Then you can import and play the patched game just likea regular game.
Game Boy Advance games¶
Before you can play Game Boy Advance games,you must provide a copy of the Game Boy Advance BIOS.Unlike game-specific firmware,the GBA BIOS was part of the console,not the cartridge,so it must be installedinto higan.
Once the GBA BIOS is installed,GBA games can be imported and played just likeany other games.
Note that some GBA gameshave trouble within-game saves.
PowerFest '94¶
PowerFest '94was a video game competitionorganised by Nintendo,in which contestants had six minutesto complete a challenge based on three Super Famicom games.The PowerFest '94 cartridgewas custom-built for the competition,and included the three base gamesas well as software to run each game,switch between them after a specific time,extract a score,and display the combined total at the end.
icarus cannot automatically importdumps of the PowerFest '94 ROMs,but if you have the files,you can import them manually.
You will need the following files:
program.rom 262144 2fc9dca305ce3fb2f1a476567de500d50c174fbfbabd32b1b91c3ea6a731b4a1
Super Mario Bros. - The Lost Levels
slot-1.rom 524288 7fd86113c5f95f794d65807bb75ab91c93c914670c27fc813ffa2ca20a48705e
slot-2.rom 524288 19eb77affbf8dd068f5d79a3cf80a2084fd73237cd1ae4e47192b4422449e64a
Ken Griffey Jr. Presents Major League Baseball
slot-3.rom 1048576 d47bc9f9a6289c4f2e7f6bf74095f6ed36b1043a761e3e729ac9af2fc39ae062
You will also needthe usual dsp1.program.rom and dsp1.data.romco-processor firmware files.
Note: the versions ofSuper Mario Kartand Ken Griffey Jr…in PowerFest '94are not the same as the stand-alone versions of those games.
To "import" PowerFest '94,collect all the files mentioned above, then:
Inside the game library, create the Super Famicom folder (if it does not already exist).
Inside the Super Famicom folder, create a PowerFest '94.sfc folder (the .sfc extension is important, but you can choose a different base name if you want).
Copy the various ROM files into the PowerFest '94.sfc folder.
To play PowerFest '94,open the Library menu,pick the Nintendo sub-menu,then choose the Super Famicom sub-menu itemto open a filesystem browser listingall the Super Famicom games in the library.Select PowerFest '94 from the listand click the Open button,or just double-click the game,and it will begin playing.
Clay pigeon shooting at a professional level – 2000 Summer Olympics
Clay pigeon shooting, also known as clay target shooting, is a shooting sport involving shooting a firearm at special flying targets known as clay pigeons, or clay targets.
The terminology commonly used by clay shooters often relates to times past, when live-pigeon competitions were held. Although such competitions were made illegal in the United Kingdom in 1921, a target may still be called a 'bird', a hit may be referred to as a 'kill', and a missed target as a 'bird away'; the machine which projects the targets is still known as a 'trap'.
Clay targets began to be used in place of live pigeons around 1875. Asphalt targets were later developed, but the name 'clay targets' stuck. In 1893, the Inanimate Bird Shooting Association was formed in England. It was renamed to the Clay Bird Shooting Association in 1903.[1] It held annual clay-pigeon-shooting contests[1] and lasted until the outbreak of World War I.[2] In 1921, the British parliament passed a bill without opposition making it illegal to shoot birds from traps.[3]
Disciplines[edit]
Clay pigeon shooting has at least 20 different forms of regulated competition called disciplines, although most can be grouped under the main headings of trap, skeet, and sporting.
Sporting clays[edit]
The English Sporting discipline has the sport's biggest following. While the other disciplines only use standard targets, in Sporting almost anything goes. Targets are thrown in a great variety of trajectories, angles, speeds, elevations and distances and the discipline was originally devised to simulate live quarry shooting, hence some of the names commonly used on sporting stands: springing teal, driven pheasant, bolting rabbit, crossing pigeon, dropping duck, etc. Disciplines in this group include English sporting, international (FITASC) sporting, super sporting sportrap, and Compak sporting.
This discipline can have an infinite variety of 'stands'. English sporting is the most popular form of clay shooting in the UK, and a course or competition will feature a given number of stands each of which has a predetermined number of targets, all traveling along the same path and speed, either as singles or doubles.
Each stand will feature a different type of target; e.g., crosser, driven, quartering, etc. International (FITASC) sporting gives a much greater variety of targets in terms of trajectory and speed, and is shot by squads of six competitors in rounds of 25 targets at a time. Super Sporting is a hybrid of the two preceding varieties. There are also other formats such as Compak sporting and sportrap in which five cages are surrounded by a number of traps, and shooters fire a specific combinations or singles from each stand according to a program displayed in front of the cage.
Maze clays shooting[edit]
This is a new shotgun game that offers sporting clays and FITASC target presentations on a skeet/trap or open field. This is possible by using a movable support system that carries the release buttons (wired or wireless setup) from 6 to 9 traps and the dual safety screen in any place on the field. As a result, the shooter can shoot in safe conditions upon target presentations in varying range (10 to 60 yards) and varying angles (sharp to wide).
Trap shooting[edit]
Targets are thrown either as singles or doubles from one or more traps situated some 15 m in front of the shooter, and are generally going away from the firing point at varying speeds, angles and elevations. The most common disciplines in this group are:
Down-The-Line (DTL) Single Barrel
Double Rise
Automatic Ball Trap (ABT)
Olympic Trap
Double Trap
Universal Trench
Helice (or ZZ)
Down-the-Line[edit]
Also known as DTL, this is a popular trap shooting discipline. Targets are thrown to a distance of 45 to 50 metres at a fixed height of approximately 2.75 m and with a horizontal spread of up to 22 degrees either side of the centre line. Each competitor shoots at a single target in turn, but without moving from the stand until all have shot five targets. Then they all move one place to the right, and continue to do so until they have all completed a standard round of 25 birds. Scoring of each target is 3 points for a first barrel kill, 2 points for a second barrel kill and 0 for a miss (maximum 75 points per round). Variations of this discipline are single barrel, double rise, and handicap-by-distance.
Olympic trap[edit]
As its name indicates, this is one of the disciplines which form part of the shooting programme at the Olympic Games. A trench in front of the shooting stands conceals 15 traps arranged in five groups of three. Shooters take turns to shoot at a target each, before moving in a clockwise direction to the next stand in the line. Targets for each shooter are thrown immediately upon his call and are selected by a shooting scheme (program) that ensures all competitors receive exactly the same target selection, but in an unpredictable randomised order to the extent that there will be one straight, two left and two right targets for each stand from any one of the three traps directly in front of him/her; guessing which one is next is impossible unless the shooter is on his/her last five targets.
Olympic trap targets are set to travel 76 metres (+/-1m) at the top of trench level marker peg, unless the terrain is dead flat, at varying elevations and with a maximum horizontal angle of 45 degrees either side of the centre line (being where the target exits the trench). Scoring is on the basis of one point per target killed, regardless of whether this is achieved with the first or with the second barrel unless it is a final where the top six scorers shoot off as a single barrel event, regardless of local club grades if any.
A simpler and cheaper to install variation of this discipline is known as automatic ball trap (ABT) where only one trap is used and target variation is obtained by the continuous oscillation of the trap in both horizontal and vertical directions in order to give the same spread of targets as in Olympic trap. Similarly, the targets are also thrown to a maximum of 76 metres.
Also known as Bunker Trap, and International Trap
Universal trench[edit]
A variation on the theme of trap shooting, sometimes known as five trap. Five traps are installed in a trench in front of the shooting stands, all set at different angles, elevations and speeds, and upon the call of 'Pull!' by the shooter any one of the five machines, selected at random, will be released.
Horizontal angles can vary from 0 degrees to 45 degrees either side of the centre line and target distance is between 60 and 70 metres. Elevations can vary, as in other trap disciplines (except DTL), between 1.5 and 3.5 metres above ground level.
There are 10 different schemes available.
Skeet shooting[edit]
Double Olympic gold medalist Vincent Hancock of the United States Army Marksmanship Unit taking part in a skeet shooting event
Skeet is a word of Scandinavian origin, though the discipline originated in America. Targets are thrown in singles and doubles from 2 trap houses situated some 40 metres apart, at opposite ends of a semicircular arc on which there are seven shooting positions. The targets are thrown at set trajectories and speeds. The main disciplines in this group are English skeet, Olympic skeet and American (NSSA) skeet.
In NSSA discipline, targets are released in a combination of singles and doubles, adding up to a total of 25 targets per round, from the High and Low trap houses on a fixed trajectory and speed. Variety is achieved by shooting round the seven stations on the semicircle, followed by an eighth station, located between stations one and seven. Scoring is on the basis of 1 point per target killed, up to a maximum of 25.
In English skeet (by far the most popular of the skeet disciplines), the gun position is optional (i.e., pre-mounted or out-of-shoulder when the target is called) and the targets are released immediately upon the shooter's call.
In Olympic skeet, the targets travel at a considerably faster speed, the release of the target can be delayed up to 3 seconds after calling and the gun-down position is compulsory. There is also an eighth shooting station, midway between the two houses.
NSSA and English version of Skeet have the concept of option targets, where the shooter has to repeat the first missed target. In the situation where the first 24 targets are all hit, the last target is considered the option. Here is a representation of Skeet sequences for all variations.
Electrocibles or helice shooting[edit]
Originating in Belgium during the 1960s, Electrocibles is similar to trap shooting, but the clays are equipped with a helice that will give the clay an erratic and unpredictable flight. The helice is composed of two winged plastic propellers with a white clay in the centre.[4] Now the sport is named helice shooting.[5]
Plastic propellers holding a detachable centre piece are rotated at high speed and released randomly from one of five traps. They fly out in an unpredictable way; so-said buzzing through the air. It is designed specifically to simulate as closely as possible the old sport of live pigeon shooting. Its original name of ZZ comes from the inventor who made them out of zinc, and had previously shot a specific breed of pigeon called a zurito; hence the term the zinc zurito. World and European Championships are held every year organized by FITASC.[6]
Targets[edit]
The targets used for the sport are usually in the shape of an inverted saucer, made from a mixture of pitch and pulverized limestone rock designed to withstand being thrown from traps at very high speeds, but at the same time being easily broken when hit by just a very few lead or steel pellets from a shotgun.
The targets are usually fluorescent orange or black, but other colours such as white, or yellow are frequently used in order that they can be clearly seen against varying backgrounds and/or light conditions.
Targets are made to very exacting specifications with regard to their weight and dimensions and must conform to set international standards.
There are several types of targets that are used for the various disciplines, with a standard 108 mm size being the most common used in American Trap, Skeet, and Sporting Clays while International disciplines of these same games use a slightly larger 110 mm diameter size. Only the standard 108/110 mm target is used in all of the trap and skeet disciplines. Sporting shoots feature the full range of targets (except ZZ) to provide the variety that is a hallmark of the discipline.
All three sports use a shotgun, and in the sporting disciplines are sub-classified by the type of game the clay target represents (pigeon, rabbit, etc.). The two primary methods of projecting clay targets are airborne and ground (rolling).
Naturally, the simplest method of throwing a clay target is by hand, either into the air or along the ground. This method is the simplest, and many 'trick shot' shooters throw their own targets (some able to throw as many as ten birds up and hit each individually before any land). However, a multitude of devices have been developed to throw the birds more easily and with more consistency. A plastic sling-like device is the simplest, though modern shooting ranges will usually have machines that throw the clay targets in consistent arcs at the push of a button.
The most commonly used target of all, must weigh 105 g and be of 110 mm overall diameter and 25–26 mm in height for International competitions and for American competitions they must weigh approximately 100 g (3.5 oz) and be of 108 mm (4.3 in) overall diameter and 28.0–29.0 mm (1.10–1.14 in) in height.
Same saucer shape as the standard but with a diameter of only 90 mm; these targets are faster than the standard types.
This target is sometimes likened to a flying bumblebee at only 60 mm in diameter and 20 mm in height.
A very thin target measuring about 108–110 mm in diameter, it flies very fast and falls off very suddenly simulating a duck landing. They are generally more expensive than other targets.
A thicker, but standard 108–110 mm diameter flat target in the shape of a wheel designed to run along the ground.
This is a plastic, standard sized target attached to the center of a two-blade propeller of different color designed to zigzag in flight in a totally unpredictable manner.
Traps[edit]
Clay pigeons in an automatic thrower
Traps are purpose-made, spring-loaded, flywheel or rotational devices especially designed to launch the different types of targets in singles or pairs at distances of up to 100 metres.
These machines vary from the very simple hand-cocked, hand-loaded and hand-released types to the highly sophisticated fully automatic variety, which can hold up to 600 targets in their own magazine and are electrically or pneumatically operated. Target release is by remote control, either by pressing a button or by an acoustic system activated by the shooter's voice.
Target speeds and trajectories can be easily modified and varied to suit the discipline or type of shooting required.
Guns[edit]
Clay pigeon shooting is performed with a shotgun. The type of shotgun used is often a matter of taste and affected by local laws as well as the governing body of the sport in competitive cases.
All types of shotguns are suitable for clay pigeon shooting, however the ability to fire multiple shots in quick succession is generally considered important. Some skilled shooters will use a single shot firearm in order to add to the challenge. Traditionally Over and Under and Side by Side shotguns have been popular, however semi-automatic and to a lesser extent pump-action have been making gains, particularly as the cost of reliable, accurate semi-automatics has come down over the last decade.
Over And Under
(sometimes shortened to OAU or O/U) As its name indicates this gun has two barrels aligned horizontally and stacked vertically. There is usually one trigger however some models have two. Within this type there are three sub-groups of specification: trap, skeet, and sporting. Trap guns are generally heavier and longer barreled (normally 30 or 32 in or 0.76 or 0.81 m) with tight choking and designed to shoot slightly above the point of aim. Skeet guns are usually lighter and faster handling with barrel length from 26 to 28 in (0.66 to 0.71 m) and with fairly open chokes. Sporting models most often come with an interchangeable choke facility and barrel lengths of 28 in (0.71 m), 30 in (0.76 m), and 32 in (0.81 m) according to preference.
This is a single barreled gun that chambers a new shell from a magazine automatically after each shot, but which requires the shooter to press the trigger for each shot. This design combines reduced recoil and relatively low weight with quick follow up shots.
(sometimes shortened to SS or SXS) Like the over and under, there are two barrels, however instead of being arranged in a vertical stack they are next to each other on a horizontal plane. Side-by-sides are harder to aim for new shooters, as the two barrels does not provide the same instinctive feedback as the single visible barrel of a semi-automatic or O/U. Modern production of SXS weapons is limited, in favor of O/U, and older weapons are usually not rated for steel shot, preventing their use on many shooting ranges.
Pump-action
This is a single barreled gun that reloads from a tubular or box magazine when the user slides a grip towards and then away from themselves. The pump-action format is popular with casual shooters in the US, but is far less common in Europe. The pump-action is inherently slower than all but the single barrel break action and thus follow up shots are more difficult. In addition to this, although their mechanical complexity is comparable to that of the semi-automatic they lack the latter's advantage of recoil reduction.
Most single shot shotguns are break action; they operate similarly to the over and under and the side-by-side except they have only one barrel and can hold only one shot. Some are very inexpensive, and they are the most popular type of gun in American Trap. Most other clay pigeon shooting disciplines require guns capable of holding two shells. The low weight of some single-shot guns result in excessive recoil which further diminishes their appeal for high volume clay shooting.
Cartridges[edit]
Shotgun cartridges are readily available in gun shops and at shooting grounds, and within limitations as to the shot size and the weight of the shot load are suitable for clay shooting at CPSA affiliated grounds and for use in events coming under CPSA rules. Though home loaded cartridges allow the user to customize the ballistic characteristics of their shells, they are generally not allowed at clay pigeon shooting events unless specified otherwise.
The instructions and specifications are printed on the boxes. For clay competition, shot size must not exceed 2.6 mm/English No. 6.[7] The shot load must be a maximum 28 g (0.99 oz) for all domestic disciplines; or 24 g (0.85 oz) for Olympic trap, Olympic skeet, and double trap; up to 28 g for FITASC sporting (from 2005); and 36 g (1.3 oz) for helice.[citation needed]
Lasers[edit]
Laser Clay Pigeon Shooting, also known as Laser Clay Shooting or even Laser Shooting, is a variation on the traditional sport of Clay Pigeon Shooting where the shotguns are disabled and fitted with laser equipment that can detect hits on specially modified reflective clays. Laser clay pigeon shooting offers a safe alternative for beginners.
The rules and disciplines are normally the same as the traditional sport using live weapons.
There are four principal pieces of equipment for a laser clay shooting setup: guns, launcher, scoreboard, and clays.[8]
A laser clay shooting gun at a laser clay shooting range.
Laser Clay Launcher/Trap
The activity can be done indoors or outdoors. Just like traditional clay shooting clays are released from a trap and the participants shoot at the flying disc. Unlike traditional clay shooting, multiple participants all shoot at the same disc. In most equipment the register of hits and misses is recorded electronically, and the sounds of the shotgun firing and the clay being hit are played from simulated sounds.
Although the activity is similar to traditional clay shooting it does use slightly different shooting principles, some of which are closer to target shooting.
^ ab The Encyclopædia of Sport & Games: Rackets - Zebra. 1912.
^ Lowerson, John (1993). Sport and the English Middle Classes, 1870-1914. Manchester University Press. ISBN978-0-7190-4651-3.
^ Parliament, New Zealand (1928). Parliamentary Debates. p. 33.
^ 'Electrocibles or helice shooting'. eiaweb.it. Retrieved 3 June 2020.
^ 'L'Italia dell'Elica sulla vetta d'Europa' (in Italian). armietiro.it. 10 June 2019. Retrieved 3 June 2020.
^ 'Helice ZZ'. fitasc.com. Retrieved 3 June 2020.
^CartridgesArchived 2009-02-06 at the Wayback Machine, Clay Pigeon Shooting Association rules.
^ 'What is Laser Clay Shooting? - Things to do in Reading'. Things to do in Reading. Retrieved 2018-04-04.
Wikimedia Commons has media related to Clay pigeon shooting.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Clay_pigeon_shooting&oldid=995248745'
Piano Download Fl Studio
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text:
Wear red to help fight racism on 16 October
CSP members are encouraged to wear red on 16 October to show support for the Show Racism the Red Card campaign, which funds anti-racism education in England, Wales and Scotland.
08 October 2020 - 10:32AM
Wear Red Day, now in its sixth year, is a national day of action which encourages schools, businesses and individuals to wear red and donate £1 to help fund anti-racism education for young people and adults across the UK.
Every penny raised during Wear Red Day enables our education and campaign workers to work with more young people and adults across the UK to challenge racism in society.
Chair of Council Alex MacKenzie says:
The CSP is keen to support SRtRC again this year as the organisation works hard around education on racism both in schools, but also in sport, where many of our members work or volunteer.
The need for tackling racism is just as important now as when the organisation set up and education is a key strand to eliminating racism in this country.
I urge members to get involved, wear red for the day, pay £1 (or more) to SRtRC and raise awareness with family, friends and colleagues that racism is still an issue that will take all of us, understanding more and taking action to eradicate from our society.
Council will be meeting virtually to support Wear Red Day and will discuss what more the CSP can do to support the fight against racism.
Wear Red Day homepage
Find out about more about the CSP and anti-racism here
CSP Council shows solidarity with Red Card anti-racism campaign
TUC congress: Physiotherapy profession calls for immediate action to tackle racism
Physio takes on Himalayan trek to raise £100,000 and increase autism awareness in Nepal
CSP members celebrate Pride in London and call for better healthcare for LGBT+ patients
Physios back activity-promoting World Cerebral Palsy Day


text:
Q: Avoid backslash expansion with echo in dash First create a file with this exact content:
a\nb

I named this file foo, if I run the following, it prints the exact content of the file:
bash -c 'bar=$(cat foo);echo "$bar"'

But if you run it with sh instead of bash the result is:
a
b

The problem here is that the \n is being translated to a new line character that I do not want to.
My machine default sh is dash, the target machine is running an embedded linux with ash builtin busybox, so it is very minimalist, it works very similar to dash not bash.
If I run just sh -c 'cat foo' it get the expected result, but I want it inside the variable, how could I do it?

A: Actually the shell forks and executes the command. But each time a command (which is not a built-in) is executed, the shell forks. That's how shells work, and that's unavoidable.
Note: the shell doesn't translate anything. The echo command may. But you can use printf instead:
your_shell -c 'bar=$(cat foo); printf %s "$bar"'


Virtual reality is a modern computerised real-time technology using graphics, sounds and other sensory input, which creates an interactive computer-mediated world. Virtual reality applications have been primarily used for the assessment and treatment of anxieties and phobias. More recently they have been used to examine the perception of emotion and the emotional responses of people with schizophrenia during simulated social encounters, with the aim of improving social skills, cognitive functioning, and treatment adherence.
What is the evidence for virtual reality?
Low quality evidence is unable to determine the benefits of virtual reality training for people with schizophrenia. Review authors report that there is no clear, good quality evidence for or against using virtual reality for treatment adherence and if virtual reality is used, the experimental nature of the intervention should be clearly explained.


I got back late last night, after a trip back that included a lost reservation, my luggage being overweight (how could that be? oh, look at all those books) so I had to repack a bit at the counter under the check-in agent's impatient gaze, and the poor kid beside me throwing up steadily all the way from PIT to IAD. It's always weird, the day after travel, because one feels as though you've been simultaneously on vacation and yet working harder than most days.
I cannot begin to enumerate all the ways that weekend was wonderful. It was a great joy to see months and months of planning finally bear fruit and now we can relax for at least a couple days before thinking about next year. The programming was, in my opinion, outstanding. My only quarrel would be that there was so much good stuff that I could not get to every panel I wanted to, and that I could not spend enough time with the fabulous SFWA events team of Kate Baker, Terra LeMay, and Steven H Silver, who are responsible for everything that was wonderful.
Okay, let me start here: One of the best parts of being SFWA President or Vice President is that you get to be one of the people calling the Nebula nominees to tell them what's up. This is a lot of fun because giving people good news is almost always a terrific experience. I've ever gotten to call former students on occasion, and thought my heart would burst from joy, because that is a terrific feeling.
This year I woke on February 16, the day we would be making the calls, to find a message from our Nebula Awards Commissioner asking me to give her a call. I did, and she presented me with news that both delighted and horrified me, that my novelette, "Red in Tooth and Cog," was on the ballot.
If you're not familiar with SFWA's official statement on Galaktika, here it is. If you're unfamiliar with the situation overall, here is A.G. Carpenter's write-up and here is Bence Pinter's Hungarian article.


text:
.. _app-create-label:

Creating an Application
=======================

When you arrive in the studio the first thing you will want to do is create an application.

To create an application you can either click on the gear icon next to *Application* in the Explorer (left nav) or click
on the **+ Create Application** button on the upper right hand side of the panel.

|

.. image:: ../images/devguide/dfx-create-app-home2.png

|

Once you click to create the application the **Create a new application** View is displayed.

|

.. image:: ../images/devguide/dfx-create-app.png

Fill in the fields to define your application and click on **Save**. In this example:

* *Application Name* is **FirstApp**
* *Application Title* is **My First App**
* *Logo* is **/image/dfx_login_logo_black.png**. This is the default image, selected by clicking on the **...** to the right of the field.
* *Creation Date* is a timestamp generated automatically by DreamFace at the time of creation.

|

.. image:: ../images/devguide/dfx-config-general.png

Once the fields are filled in and the main Application Properties are saved, the Application Configuration settings appear
in the Tabs at the top of the Panel with **GENERAL** displayed in blue and underlined in red, being the current Tab. GENERAL
refers to the main application properties as defined above: Name, Title, Logo, Creation Date.

Once the application is created, you won't be able to change the Application Name or the Creation Date but you can still modify
the Application Title and Logo.

Your application has been created. See the :ref:`app-config-label` settings to set other application parameters.

Return to the `Documentation Home <http://localhost:63342/dfd/build/index.html>`_.


Gorillaz are set to headline a newly launched festival called DEMON DAYZ, curated by none other than Damon Albarn and Jamie Hewlett themselves.
Demon Dayz is a one day festival and is due to take place at Dreamland Margate on June 10th. An eclectic full line-up is expected to soon be announced, taking place across three stages throughout the day.
The new festival marks Gorillaz' welcome return to the live stage, their first UK show since the sold out Plastic Beach World Tour in 2010.
Tickets for Demon Dayz Festival are £60 (plus booking fee) and include free admission to Dreamland Margate amusement park. Pretty cool for a festival's first year, right? Tickets go on sale from 9am on Friday the 10th of March.
Next Post:Paying Dues: Pro Wrestling Ignition.