The paper-like aesthetic fits so well into the world as it is unique and creative. In my opinion the art is my favourite part of this game. Overall all NPCs cover a wide variety of roles and are necessary to progress forward. And lastly the Healer heals the player and brings back the player from death. The Barmaid makes stew from ingredients you find in the dungeon, giving bonuses. The Fortune Teller upgrades cards, recharges item cards, and fuses rune cards. The Sage identifies cards that you earn in the dungeons as well as maintains the bestiary, which holds information on enemies. There are currently four NPCs in town which the player can interact with. A common card does not have any additional bonuses, while magical cards gain one random bonus power, and legendary cards have two magical bonuses and one unique legendary bonus. There are currently three variants of cards: common, magical, and legendary. Spell cards are pretty much active skills like in any other hack’n’slash game, and item cards are limited usage cards that have to be charged by the Fortune Teller by paying gold. It doesn’t actually use Mana so these cards are the easiest to use. Artefacts give passive effects by locking a certain amount of Mana. Instead of stats, skills, and equipment, it uses a card system with three types. The most unique thing about the game and the main reason why this game is unique is the card system. The last, and hardest in my opinion, is the rogue as she does not have the clearing damage of a mage, but relies on tricks and item cards. Mages are harder as they have a need to cast spell cards and Mana is a scare resource that doesn’t recover over time. The warrior is armoured and beginner friendly as they don’t require many spell cards and rely more on artifact cards. The player can choose up to three classes: warrior, mage, and rogue, each with their own unique play styles and difficulty. There are also options to make the game roguelike, with an active global leaderboard established. Health and Mana do not regenerate and thus playing recklessly will punish the players. You have to plan your actions in advance if you want to proceed. Having this mechanic based around just your mouse, it is impossible to just run in blindly. Holding down the mouse of said enemies attacks faster. Using the mouse you navigate a line through the level and automatically attack enemies. Unlike typical hack’n’slash games, The Bo ok of Demons revolves around a linear style of movement and combat. Their only hope is the player, a wandering hero who can free them from the ultimate evil. Below the holy place are corridors of dark and twisted mazes, where an awakened evil lurks, preying on the livelihood of the town. The plot is set in the Paperverse, underneath a cathedral in a small town. Whereas most hack’n’slash adventure games are chaotic and mechanically driven, having a more tactical and strategic approach to the genre was actually very welcoming. Originally this really irked me, but the more I played the more I came to find the game strangely addicting. While I’ll leave the bigger details for the gameplay section, I’ll say that using pretty much only my mouse to do everything is quite annoying. That’s right, you heard me: lack of control. The plot of the game seemed boring, and the premise of scaling level after level while having a lack of control over what I could do was just bad. When I first started the game I didn’t have a lot of hope for it. I have had the pleasure of playing this game through its early access and I can say for certain that it has potential as it is unique, challenging, and a lot of fun. It’s the first instalment of an upcoming game series called Return 2 Games, which aims to introduce audiences to a classic style of hardcore gaming. The B ook of Demons is a hack’n’slash game, reminiscent of titans of the genre like the Diablo franchise or Torchlight, except with a pop up book aesthetic. After two and a half years of testing, The B ook of Demons, developed by Thing Trunk has been officially released.
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Once loaded, I click “ Activate” and I’m done. I then navigate to the SWX1 Fine.curaprofile which I just downloaded and load it. The Profiles entry is in the left hand table and once Profiles is highlighted, I select “ Import” from the top menu options. Again, clicking “ Configure Cura” opens a pop-up window. Once downloaded, I extract the zip file which will give me the two needed files.Īfter I’ve read the PDF, I loaded Cura 4.4 and selected the Preferences settings from the top menu. I find the line that says “Sidewinder X1 profile for Cura 4” and click on it to start the download. The Support tab has two options of which one is the Download option. To do so, I pointed Firefox to this web address: If you can’t find one online, then go to the “ Downloads” section of my website, read the red text and click links to download. Update! The artillery website seems to be down which is not unusual considering what is happening with the Corona virus. Download the Cura profile from the artillery website I can now name my printer in the text field. To be specific, I click on Add Custom FFF Printer and then I click the Add button. Adding the Artillery Sidewinder X1 3D printer to Cura 4.4įirst, I add a “ non networked printer” and select “ Custom“. This opens a big list of available printers but there is no Sidewinder X1. To add the 3D printer, I click the drop-down icon and selected “Add printer”. Cura 4.4 has no profile for the Artillery Sidewinder X1.īefore I can print, I must first add the printer and then import the Artillery factory profile. But before Cura sees my printer, a few steps have to be taken which I will outline now. I use the following profile settings for my Artillery Sidewinder X1 when slicing with Cura 4.4 under Linux. The current (fx) button is not sufficient.Update: Cura 4.5 has been released and I will install it as soon as it is available in the Arch Linux Repository. There are many possible shortcomings and it's really hard to accommodate all workflows.īeing able to reset an override from a built-in profile is something I'd be happy with too. If you have Firmware Retractions enabled users won't be able to customise their retraction distance any more. Changing the material settings in a quality profile will make user-modified materials not use those settings if they use that quality. If you change the Top Layers setting, people won't be able to use the Top Thickness any more, but you might find that closing the top side of the print up is more of a matter of how many layers there are regardless of the thickness of those layers. It's a hard problem because there are many workflows out there. I do recognise the problem though many profiles have overrides that prevent people from using certain workflows. So we're taking the hands off, only reviewing things that are very obviously wrong (e.g. We can't test these profiles except for Ultimaker printers. Lowering the material's temperature would cause underextrusion at that quality level, and increasing it would cause the slice to fail due to hitting the maximum temperature, or would cause the material to burn in the nozzle. You wouldn't want it to scale with the material profile then. To extrude that much material the nozzle needs to heat up to the printer's maximum temperature or to the degradation point of that material. For instance, you can have a coarse-quality profile that extrudes a lot of material. It's hard to see for us when a hard-coded value is desired and when it needs to scale along with other settings. G1 Z15.0 F100 move the platform down 15mm I can edit the gcode directly after it's produced by Cura then the printer works at the correct temperature. When I slice and save, the resulting gcode contains the original 200 temperature. I created a custom material for some Inland PLA+ material by copying the generic PLA settings and changing the printing temperature from 200 to 210. Cura 4.5.0 for Manjaro Linux, Anycubic Mega S printer Choose the playlist you want to transfer, then select Confirm and continue.Select the pencil icon at the bottom right side of the Playlists box.Log in using your Apple ID, then select Allow on the Access Request page. Click on Select Destination and select Apple Music.Enter your login credentials, and when redirected to your third-party app permissions, click on Agree. Click on Select Source, then tap Spotify.On the dashboard, under Tools, select Transfer.Here’s how to use Soundiiz to transfer your Spotify playlists to Apple Music: How to switch from Spotify to Apple Music using Soundiiz You can also import your music data directly into Soundiiz rather than give it access to your streaming apps. If you use an iOS device, your best option is to access it directly through their website, where you will be required to register for an account.Īfter logging in, you can automatically connect your streaming platforms to the app. In contrast to SongShift, Soundiiz has an Android app but no iOS app. Soundiiz is a web application for transferring playlists across 45 music websites, ranging from famous ones like Spotify and Apple Music to less used ones like Setlist.fm. If SongShift isn’t your cup of tea, there are other apps you can try to switch from Spotify to Apple Music. Top Apps to Help You Switch From Spotify to Apple Music Finally, tap on Confirm Matches, then Continue to finish the transfer.Simply click on the wrong entry to replace it with the right piece. Once done, tap on Review to check if the app has matched your songs correctly.Select Apple Music as your destination, then tap on Start Shifts to begin the transfer.Click Confirm at the top right part of the screen.Choose Playlist under Spotify, and select the playlist you want to import to Apple Music.Click on the + icon at the top right corner of the screen.Starting transfer of playlists via SongShift You will be directed to the Shifts page, where you can start transferring your playlists. A pop-up will appear, prompting to give SongShift access to Apple Music. Selecting Apple Music from list of services Select Apple Music from the list of available services.If you’re already logged into Spotify on your phone, you will automatically be directed to the third-party app permissions page. Secondly, you will gain the most organisational benefit if the activities are geared towards developing people's own potential - find out what they will enjoy doing and learning. People are best motivated if you can involve them in designing and deciding the activities - ask them. Using and planning team-building activities And then the team starts to move mountains. And we'll make sure we enjoy ourselves while we're doing it'. We'll look out for each other and succeed - for us - for the team. Maybe something inspires them, but ultimately the team decides. Teams usually become great teams when they decide to do it for themselves - not because someone says so. More than annual appraisals, management-by-objectives, the 'suits' from head office more than anything. This goes far beyond skills, processes, and policies. People working for each other in teams is a powerful force. Teamwork is fostered by respecting, encouraging, enthusing and caring for people, not exploiting or dictating to them.Īt the heart of this approach is love and spirituality which helps bring mutual respect, compassion, and humanity to work. Empowering people is more about attitude and behaviour towards staff than processes and tools. The diagram representing McGregor's X-Y Theory illustrates how and why empowered teams get the best results. Great teamwork makes things happen more than anything else in organisations. Always ensure that you have proper insurance in place for all team-building games activities, and take extra care when working with younger people, and children and organising kids' party games. We cannot accept responsibility for any liability which arises from the use of any of these free team-building ideas or games - please see the disclaimer notice below. Team building games, exercises and activities can also enhance business projects, giving specific business outputs and organisational benefits. These free team-building games, ideas and rules will help you design and use games and exercises for training sessions, meetings, workshops, seminars or conferences for adults, young people and children in work and education or for clubs and social activities. Team building games, exercises, activities and quizzes also warm up meetings, improve training, and liven up conferences. Team building games, exercises and activities help build teams, develop employee motivation, improve communications and are fun - for corporate organisations, groups, children's development and even parties for kids. Here are tips for checking that team-building games and activities are suitable.Īnd here's some guidance about using games and group activities. Here are techniques, theories and ideas for designing and using your own team-building games, exercises and activities, and tips for using the many free team and group activities and ideas on this website. Free Team Building Games: Guide and Tips How to use team-building games, group activities - ideas and theory for employee motivation, training and development In 1923 a rainbow flag was designed by the International Co-operative movement in Basel, Switzerland to celebrate the movement’s ideas of international solidarity, economic efficiency, equality, and world peace. Nowadays the rainbow is used by many popular movements for peace and the environment. In the Bible a rainbow appeared to show Noah that the flood was over and that God had forgiven his people and in the Chinese tradition the rainbow is a common symbol for marriage because the colours represent the union of yin and yang. In Greek mythology it was associated with Iris, the goddess who brought messages from the gods on Mount Olympus and in Scandinavian mythology the rainbow was a bridge between the gods and the Earth. Peace, with with her doves and lambs, hands an olive branch to William, who in turn hands the cap of liberty to Europe, where absolute monarchy prevails.Īnother ancient and universal symbol for peace, the rainbow often represents the connection between humans and their gods. James Thornhill’s allegorical painting Peace and Liberty Triumphing Over Tyranny depicts King William III and Queen Mary - who had enacted the English Bill of Rights - enthroned in heaven with the Virtues behind them. English coins of the 18th century depict Britannia with a spear and olive branch and in July 1775 the American Continental Congress adopted the ‘Olive Branch Petition’ in the hope of avoiding a full-blown war with Great Britain. 17th century poets used the olive branch as a symbol of peace and a Charles I gold coin of 1644 shows the monarch with a sword and olive branch. Later representations also associate the olive branch with peace. In the early cultivation of the olive it took years for the trees to bear fruit for the harvest, so it was believed that anyone who planted olive groves must be expecting a long period of peace. Furthermore, wars between states were suspended during the Olympic Games and the winners were given crowns of olive branches to wear. Another goddess in Greek mythology, Athene, gave the olive tree to the people of Athens, who showed their gratitude by naming the city after her. Known as Pax to the Romans, she appeared on Roman Imperial coins with an olive branch and the Roman poet Virgil associated the ‘plump olive’ with Pax and used the olive branch as a symbol of peace in Aeneid. The ancient Greeks believed that olive branches represented plenty and drove away evil spirits and an olive branch was one of the attributes of Eirene, the Greek goddess of peace. The use of the olive branch as a symbol of peace in Western civilisation dates back to at least 5th century BC Greece. The name “Codrii de aramă (The Copper Woods)” comesįrom the brass color of the sessile oak leaves in autumn.Īrgint” is a forest and landscape reserve. The nature reserve, (2.4 ha), includes birches over a century Territory of the commune of Agapia, near Văratec, 1 km away from the reserve “Codriiĭe arama”. The rustic celebration “ Pădurea de Argint “ The name of the reserve comes from the color that the forest acquires inĪutumn and winter, when the birches become silvery. Takes place on June 15 th in the village of Văratec. – The Nature Reserve “ Pădurea de smarald ” or the Dumbrava Oak Nature Reserve has an area of 56.6 ha and includes secular oaks aged between 150-200 years. It is a scientific reserve of the Academy here you will find oaks at an altitude of 450m. The reserve is located in the village of Vânatori-Neamţ being crossed by the National Road DN 15 B Poiana Largului – Târgu Neamţ. Within the Natural Park Vânători Neamţ is located the Reservation of the Carpathian bison and fauna “Dragoş Vodă”. In 1969, the first 3 specimens of bison were brought here from Poland. Currently a number of six specimens of bison are in captivity on about four hectares, in the zoo “Dragoş-Voda”. Along with them are other mammals: Carpathian deer, fallow deer, wolves, bears, rabbits, badgers, wild boars. Another 17 specimens of bison live in semi-freedom in a perimeter of 180 hectares. From 2012 to nowadays, 30 bison have been released into the wilderness of the Natural Park. As a result of the multiplication, the number of bison is now about 45. Some of them are monitored with radio collars or GPS collars around their neck. In Romania there are two more areas where the bison lives in freedom, in the Țarcu Mountains and the Poiana Ruscă Mountains. Romania is among the 9 European countries where bison live in the wild. Park administration is located in the commune of Vânători Neamţ, near DN 15 B, The headquarters of the Vânători Neamţ Natural The bison is the largest herbivorous mammal in Europe, with males reaching at maturity 800-1000 kg. The headquarters isĪbout 400 m from the intersection where the 155C road is detached, which leads The road that crosses the park from the west to the east. It's coming out in May! /i9ZjLT2GEKĬase Closed – Fist of Blue Sapphire: Sub and dub Blu-Ray release. The full Japanese & the combined English.Ĭlean OP & ED have both audio tracks for this one. That includes 'both' versions of episodes 1 & 2. The show is here subbed & with the US dub. Coming in May 2022.Īstro Boy (1980) has a really nice remaster. And of course the script is riddled with cool quips, slapstick moments and stupid pop culture references.Discotek Media announced a brand new slate of licenses during their "Mega Discotek Day" live stream on Monday with upcoming releases including Digimon Adventure, Kekkaishi and more.Īnnouncements made during the panel are in alphabetical order.Īstro Boy (1980): Full HD release in sub/dub, including the full uncut Japanese episodes 1-2 (one episode for the dub, which was produced at the University of Wisconsin). Since TMNT had mutated drooling imbeciles for villains, Bo Abobo (yes, he gets a first name here) of course had to be a drooling imbecile who gets mutated into a monstrosity that looks like his head is stuck in between two enormous testicles. What’s it with these media tie-ins always concocting supernatural sources for the Lee brothers’ abilities? The Teenage Mutant Ninja Turtles also left their omnipresent mark on this iteration of Double Dragon, so of course one of them (Billy) has to be an annoying good-for-nothing loudmouth who cannot actually do proper martial arts (saved his actor from learning any) and Jimmy the stoic perfectionist (so of course the Asian actor had to play him – the difference in race between the brothers is never even handwaved). The plot is set in motion by a clichéd magical artifact – the Double Dragon amulet, which is split in two halves, one to give control over the body and the other to give control over the soul. Unfortunately, it also got a whole bunch of bad ideas. If Double Dragonis blessed by one fairly unique feature, it’s the “dragon of the week”: Every so often, the Lee brothers will be joined by new allies whom they turn into honorary dragons complete with their unique powers and silly costumes – more toy opportunities. A few of these are broken with no relation to the episode at hand, but often enough the show makes a valiant effort to actually present a suitable moral in the story, such as “don’t judge a person by their appearance, cause they might be secretly an interpol agent.” The cartoon takes on surprisingly serious subject matter for a hammy merchandise vehicle, including amputation (“I may only be half a man, but the half I got works good!”), or several fairly explicit instances of drug abuse. Each episode ends with An Aesop Aesop delivered to the Dragons’ teenage students. The Shadow Master has a delightfully calm and threatening voice at all times, but it’s undercut by the writing that puts him in the typical SatAM show buffoon villain position. It checks off every box for this kind of programming – an overly descriptive theme song, sub-par animations, and the villains trying another unrelated scheme to forward their entirely nebulous evil ends and being defeated and humiliated every time because in 20th century television nothing was ever allowed to build up to anything meaningful. Overall the series would be mostly indistinguishable from other shows of its ilk if not for the familiar names. Virtual reality as it was widely imagined in the early 1990! The big bad, Nightfall, is a creepy shadow creature with seriously bad hair, who keeps people’s souls in a snow globe. It is structured very much like a standard Marvel superhero story, complete with typical Marvel super villains – Superluminal is basically an evil Flash with his superhuman speed and the skin-tight spandex covering his entire body and face, Exoskeleton has huge mechanical arms strapped to his shoulders, and Stealth has fluctuating rectangular glitches float around her all but naked body that allow her to impersonate people and turn nearly invisible. In contrast to their output in high profile licenses like Star Wars, Marvel didn’t bother trying to step out of their comfort zone too far for Double Dragon. Technōs wasn’t really involved with any of them, but there seems to have been some information flow in whatever direction – the Marvel comic book tie-in first introduced Marian as an undercover cop who was captured by the gang she was infiltrating – a plot point later found on the box of Return of Double Dragon. In the early 1990s, US licensor Tradewest tried to turn Double Dragon into a big multimedia franchise, resulting in a wide range of tie-ins. You can use it to attract a young audience, and give your brand a fun personality in every post. This handwriting font is fresh, feminine and stylish. If you’re starting a women’s clothing brand, then this is the perfect option. Hand lettering is becoming a more reliable option for almost any brand desiring a human touch on their posts, and this option does just that! It works perfectly alone, or you can mix it with another Sans Serif. If you thought that this was a passing trend, you probably thought wrong. Of course, we have to show you hand lettering options. And remember, when we think about social media design, we should think mobile first – because it’s the place where our users look at our posts the most. Like Helvetica, this font is used by a lot of web designers, and has now become even more famous due to the new mobile optimisations. If that’s the case, then Merriweather can help you with the readability. It’s common to see a lot of accounts with reading passages, poetry, personal quotes and so on. You might find a lot of fonts created specially for digital formats, and this is one of them. It has a modern look and gives a serious but friendly sensation when you read it. GT Walsheim is for people who loves geometric shapes, and it’s ideal for a lot of businesses. It’s a friendly Serif font that you can easily combine, and it’s also good to use for your content marketing headlines. If you’re into Serif, but think it’s slightly boring for social media posts, then Playfair Display is what you’ve been waiting for. If you have a literary or institutional project, then this is a good choice. You might think that every Sans Serif font looks the same, but we can assure you – they don’t! PT Sans, for example, is a very rounded one, with a feminine and sophisticated touch. Despite the fact that it’s not meant for logos, it’s perfect for any visual branding composition. It goes well with almost any other font, it reads perfectly in any size, and there’s lots of ways to use it. Helvetica is an amazing font, and it’s the favourite of many designers around the world. It works perfectly for a clothesline or a club, as long as you use it wisely. It’s imposing and makes your post be the center of attention due to its high stroke and shape. It’s a full family with different types of fonts but all of the same essence. Novecento has become very popular in web design. Besides, you can adapt it to any design giving a fresh but serious air. Also, it’s neutral and easy to combine with any other font. It’s what we call and hybrid font and works perfectly for almost any case. Using Montserrat, you have the best of both worlds. If you can’t decide between a Serif and a Sans Serif, then this is the perfect font. Decorative: Not the favorite for Social Media, but used in particular cases. Script: Normally, these are companions for the previous ones. Sans Serif: These are fresh, easy to read, and more versatile. Serif: These are used by a little bit more serious brands like papers, law, and so on. That’s why we first invite you to take a look at these great fonts options. Getting the right fonts combination is another delicate subject, and it takes time and practice to get the right one. Instead, two or three would be a better choice. If you understand that less is more, we can tell you that a mix of five different fonts isn’t right for Social Media posts. Sometimes, you’ve got the right pair, but they’re good only individually, or maybe you want to combine eight different types. Even if your fonts are beautiful, if you don’t apply the right one, it might mess up all your work.Īlso, there’s another common mistake about fonts. Therefore, people might lose interest in the posts because they don’t look natural, or more so, because they don’t look aesthetic. It’s normal that a font included in a visual composition for social media could look awkward, out of the size or even without something in common with the spirit of the brand. But when it comes to a general aspect, such as the fonts used, we can see huge mistakes out there. For a video, we can do lots of crazy stuff because it’s appreciated in these channels. You see, there’s a difference between the conventional design, and the particular design for social media platforms, not only because of the size but also the order and shape of the elements in a composition.įor example, for social media photography, we’re allowed to experiment with different angles searching for the right motion. When it comes to visual branding, there are some commonly forgotten or misunderstood details. Not including bumpers was actually a good thing because many times you are working against a time limit while trying to make a specific shot. Two things missing are bumpers and targets that can be knocked down. Many small videos are played that represent the silver ball's actions. Moving parts and flashing lights are all over the table and the dot matrix display is impressive as well. Everything in the machine looks like it is real. Graphics are colorful, bright and very detailed. The police car sounds like Darth Vader and has a few lines very close to his, one of them being "The sheriff is not as forgiving as I am." Another voice sounds like Forrest Gump and says "You drive like a box of chocolates." Some of the voices imitate movie characters with similar voices and lines. Numerous voices are included so they never feel repetitive. Nearly every action results in someone talking and all of the comments are easy to understand. However, the best sounds are definitely the voices. Sound effects are perfect and the music is great. What really adds to the game are all of the sound effects and voices. It is even possible to have as many as ten balls on the table at once. When the police car is lit up and you make the U-turn, the "Police Chase Frenzy" will begin and four more balls will be added. The action really heats up when multiple balls come into play. One game that plays out on the dot matrix display has players controlling a taxi where they must ram cars off the road while trying to keep from crashing. Some events take place on the dot matrix display that features many videos throughout every game. Everything is accomplished by making skill shots such as hitting the appropriate ramps when they are lit. Situations can be anything from shooting alien invaders to escaping from the mall. Performing combos, hitting particular ramps and making multiple U-turns can bring up a variety of situations. Pro Pinball: Big Race USA has a storyline in which you play as a taxi that is picking up passengers, driving across the country and, at times, running from the police. The default settings are perfectly fine and the flippers respond immediately. You want to test the controlled game lamps? Maybe you have no reason to but just knowing that you can makes the whole experience that much more realistic.Ĭontrols are all performed on the keyboard and are fully customizable. The most amazing feature is the ability to actually make changes to every item located inside of the table. Table age may seem odd but if the table age is changed to reflect an older table that has seen a lot of action, the ball will roll differently. Players can change many settings from flipper strength to table age. Options are numerous, something rare for a pinball game. Even the manual is set up similar to one you would receive if you were to purchase a full size pinball machine. Being so close to the real thing is impressive. Pro Pinball: Big Race USA is definitely the best pinball game to date (c.1999). Many readers probably remember the exercise in a literature course-reading a poem in silence, counting syllables and poetic feet, marking stresses or accents. Readers may also want to see our article with linguist Georgia Zellou, “Beyond Poet Voice: Sampling the (Non)-Performance Styles of 100 American Poets,” published in The Journal of Cultural Analytics in April 2018, in which we analyze recordings of 100 modern and contemporary American poets and compare them with 20 conversational speakers. We hope that poets and students of poetry at all levels will explore these recordings and, in listening to the original and deformed versions, and considering our visualizations and preliminary analysis of the data, attain a deeper understanding of prosody-in-performance and appreciate its centrality to the study of poetry. These tools will, we hope, be useful in sound studies and literature courses, and in novel research on the vast and growing archive of recorded poetry and other performative speech.įinally, in a spirit of serious play, we offer a casual history and some counterfactual examples of prosody-in-performance through brief samples from sixteen modern and contemporary poets and pitch and timing data about those recordings (SAMPLING THE PROSODY OF SIXTEEN POETS). These include a pitch-tracker (for tracing intonation patterns, to create pitch contours) that works especially well on noisy recordings often found in the poetry audio archive, a forced aligner (for tracking speaking rate and tempo by word and pause duration, and aligning lines of poetry with pitch contours), and a speech synthesis tool that we use for vocal deformance. Then we sketch some relevant history of the study of prosody across disciplines (A LITTLE HISTORY OF PROSODY ACROSS DISCIPLINES) and explain our methods (EXPLORING POETIC PROSODY: VISUALIZING INTONATION AND TIMING AND PRACTICING VOCAL DEFORMANCE), and introduce some simple open-source tools that support alternative heuristics for the teaching and study of prosody in poetry (THREE SIMPLE OPEN-SOURCE TOOLS FOR EXPLORING POETIC PROSODY: DRIFT, GENTLE AND TANDEM-STRAIGHT). Next, we discuss the goals and limitations of scansion as typically practiced in the literature classroom in more detail (SCANSION IN THE CLASSROOM). Vocal deformance is a playful strategy of defamiliarization that involves manipulating vocal qualities of a recording, such as pitch values, vocal tract size, and speaking rate, to draw attention to the subjective nature of speech perception and thus of vocal performance styles, and to imagine alternative histories of and futures for poetic performance. First, we encourage readers to listen to the 12-minute podcast, AFTER SCANSION, which explores the goals and limits of scansion in the classroom and introduces vocal deformance. These are some questions we want to explore. How and why did this happen? What if scansion had never become dominant? What alternative methods for understanding poetic prosody have been passed over? How might reliance on scansion of the text on the page-at the expense of other approaches to listening to and analyzing the prosody of recorded poems-have helped oversimplify the history of poetry performance, and of the evolution of poetic forms? If the token is a not a word, it is shown as symbol.Scansion, for generations of American students, has been the dominant method of studying prosody in poetry. If the index is negative, the syllable position is counted from the end of the word: stress_position: Index, starting from 0, for the stressed syllable of the word.has_synalepha or has_sinaeresis: Whether or not the syllable can be conjoined with the next one.is_word_end: Whether the syllable is the end of a word or not.is_stressed: Whether the syllable is stressed or not.If the token is a word, it shows a list of the syllables it is made of, with the following information: A list of tokens, and a list of "phonological groups" i.e., the phonological units that form a verse after synalephas and sinaereris are taken into account. Each stanza is then shown as two separate lists. The output of Rantanplan is a complex structure that will be broken down for clarity.įirst, Rantanplan will show a list of stanzas. Mariposa de sueño, te pareces a mi alma, y te pareces a la palabra melancolía.""" get_scansion( poem) Output example Como todas las cosas están llenas de mi alma emerges de las cosas, llena del alma mía. Parece que los ojos se te hubieran volado y parece que un beso te cerrara la boca. core import get_scansion poem = """Me gustas cuando callas porque estás como ausente, y me oyes desde lejos, y mi voz no te toca. |
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