#b: ESP Prototype | Explore Tumblr posts and blogs

ignitification · 4 years ago

Note

really loving your bnha meta, esp. your “what the future holds” post - if you have time, could you give your take on how has hero society failed deku and how that distorted his worldview?

Hi there stranger! I am glad you are enjoying them (here it is the post anon is talking about) and thank you for taking the time to read at all!

As for my take on how society has failed Izuku and how that changed his worldview - let’s start off with stating two things: Izuku has been just discarded from society, and been acknowledged a status of ‘person’, while not on par with people who potentially might be heroes (and therefore, a B-rate citizen); and while that notion has definitely shaped the way Izuku behaves (explaining his self sacrificing tendencies and his considering himself as always having to work harder than the others to catch up), it also helped him to ‘forge’ an identity, without which today Izuku would have not made the progress he did so far (in particular, the way Izuku behaves towards Shigaraki, especially in the last chapter of the War Arc and the new Arc has roots in the fact, that he sees himself, a rejected and crying kid, alone - without no one to rely on and no one willing to help, different from everyone else around, in Tomura).

The thing about hero society is that it has basic standards: if a person does not fit in the criteria of them, then they are bound to end up ‘excluded’, discriminated, and just left to themselves if there is no one to stand up for them (which in theory heroes should do, but this notion is very far from the reality of heroes). It also has the tendency to favour comparison. Now, since Izuku’s childhood, Izuku has been inherently compared to Bakugou, and the other kids around him - and when that comparison failed (he was diagnosed as Quirkless, which is not only rare - but also looked down upon), Izuku had to deal with the damage that in the end shaped his hero personality. The bullying Izuku went through these years, is a byproduct of the views society passed onto the kids - and when it did happen, exactly like happened with the villains, society just turned his head away, pretending it could not see. Society has failed Izuku in two ways, in my opinion: it failed to transfer him the value that every life is worth saving and caring about, his included and it failed to acknowledge that people have dreams, regardless of who they are, and they are allowed to look forward it. Society failed Izuku by denying him, reducing him to a label, which he so hard tried to fight, and which has still stuck onto him (clearly from the behaviour which Bakugou has reserved towards him) and in the end has been entirely cancelled out only because he suddenly manifested a Quirk, and made ‘equal’.

It kind of comes back to the ‘I deserve it’ rhetoric: what Izuku fails to understand, and which also causes him to dissociate, and to put on his shoulder a burden bigger than needed - is that Izuku, while not satisfying the incredibly stupid hero society standard, has not less or does not mean less and does not have to word too hard for his objective in order to satisfy those same standards. Izuku is still bound by the thought that everything that came his way was not his merit and he did not deserve, because society told him, early on, that he didn’t. The worst thing about it, is that Izuku, still nowadays, feels a pressure out of the fact that he feels that he never does enough in order to be considered on par, or that he should be careful for what has received that it made him put on his shoulder on a burden which should not have been his, nor should have existed at all (but this is for another time). While this is just a way in which society hasn’t directly failed Izuku, it still represents the entire failure of society to provide justice. It also clearly affects Izuku, as he tries to take on the Symbol of Hope not because he feels ready to, but because he feels like he needs to: if it is not him, there is no one else. It is him, or total destruction - and Izuku feels the burden of the society which still has trouble accepting him on his shoulder, because that is what Izuku is: a hero. Heroes, however, are highly misunderstood and made into something they are not, and this is why the prototype of hero which Izuku is and represents, is just not recognised as such. This gives space for a sense of inadequacy which I am not entirely sure will ever be addressed.The thing about this, is that feeling different and underestimated in a society, shapes your worldview in a way where you are the problem and it is up to you to solve it, because you are the one creating it in the first place. Izuku feels responsible for society (and Shigaraki as well) exactly because he feels like he needs to show them that he is worth being responsible for that society: by doing what he is doing, he is showing that he deserves doing so. It is a circular argument but I think it fully express the vicious circle Izuku is and is in. Izuku feels a cog in a world where he thinks he needs to carry on the whole world to deserve being a functioning cog (and not a broken one).

While I do not think that this is the entirety of it, this is mainly my thought and I do not want to go eternally long about it. I hope it became pretty clear - but I think Izuku is stuck in a bad coping mechanism and a self-destructing prophecy because he thinks that this is what society wants from him, as it was the value that it has imparted him with and labelled him with (exactly like a product at the supermarket).

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realsports · 5 years ago

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Weeks of 11/15 – 12/5

Doing three weeks in one post; I had a pause on UX stuff just cause...I’m burnt out doing school, work, and just ~existing~ honestly lol

Individual Project Updates:

None!

Group Project Updates:

Tweaked and finished the first iteration of our final prototype!

Finished usability testing our prototype; reached out to my mentor for her to check it out…still waiting for a response

General Updates:

Spoke with two freelance UX designers

Spoke with a UX designer from Amazon

I updated my resume and I like how it looks now!

Entered a UX design hackathon on 12/3 and just finished it at 11 p.m. on 12/5. Did it with some friends and it was really fun, but stressful (esp. cause I’m behind in school/work/everything tbh).

Takeaways:

Make sure to take breaks while ~grinding~! I get stressed a lot about doing work cause it never feels like I’m doing enough, but things usually work out (a.k.a. in September I had 0 portfolio pieces, and now I have another portfolio piece from the hackathon! My group project is almost done! I have an idea for my individual project! That’s 3 projects (doing them on the side) within 4 months, holy cow!)

Positivity is super important; it’s a huge motivator for me and it’s incredibly important for me to find, exude, and attract these Good Vibes.

Not getting your dream job right after college isn’t that big of deal! Life is more fluid than getting from point A to point B.

#UX Journey #studyblr #studyspo #studioblr

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kata4a · 5 years ago

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KM A/B test: half of incels being forcefemmed and paired with the other half in a government supplied gf program, all incels being forcefemmed and inducted into chad harems

this one's also interesting

so first there's the question of what 'incel' refers to -- if we take it to mean the prototypical member of online incel communities, then the second one wins out easily, because the incel ideology is just fundamentally not that hot, and I don't think they would make good doms

but we can take incel in the broader sense of anyone involuntarily celibate, and even construct a sort of fantasy incel: fundamentally attractive but nonetheless romantically hopeless

and this starts to open up hotter possibilities for the former. esp because you can then play up a caricature of the incel ideology to create fun character drama! "I hate you because you're a woman, but I also hate you because you're not a “real” woman and it's a symbol of my failed status as a man, but I'm also desperately attracted to you [because your a hot trap] and but perhaps even more [because I'm a closeted homosexual]" and then all of those feelings but even more complicatedly in the forced femme victim herself

#kat's sex life

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markoftheasphodel · 6 years ago

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13 and 16 for the meme... for Finn and Quan’s Whatever.

13) is it hard for them to talk about their feelings openly with each other? if so, is there any way that can be resolved, even in the slightest?

Well, there are so many layers of artifice in play here– Quan’s need to project the image of the invulnerable, confident prince and Finn’s drive to be useful and to see to his liege before all else. So yes, it’s hard to be open with someone else when you can’t even voice certain things to yourself (and that goes for both of them)! But they’re together through a LOT– invasions, prolonged occupations of foreign lands, Travant popping up in Agustria, the flight to Silesse and however long they were detained there, the journey home from Silesse, and then of course the birth of Leif. There’s moments where each of them could’ve dropped defenses and all the constraints we see on their canon conversations (esp the event convos which act like prototype C & B supports)… but I suspect those moments, if any, were few and far between. I doubt they ever had a single conversation as revealing as, IDK, Chrom’s A-support with Sully. I presume they kept to the coded conventions of liege and servant and Quan made up the difference with grand gestures, like the Brave Lance… or like entrusting Finn with Leif! Or by sharing with Finn all his grand plans about what a Unified Thracia would be like when they were done thrashing the southerners. Stuff like that. It does sounds that Quan let Finn into his political dreams and that may’ve been enough.

16) do either of them have a special item (an article of clothing, a necklace, a book) that they use when they miss the other? if so, what is it? what do they do with it (read, wear, look at, smell)?

Brave Lance. Finn kills people with it… specifically mortally wounding or killing Travant with it, oh yes. Aside from that, my headcanon is firm that Finn’s attachment to his particular clothing style (which ain’t cheap– you don’t have randos wearing blue in FE5!) is entrenched in his self-image at the time he was serving Quan and that the large blue gem he’s got in his belt in FEH was a gift from Quan. He’s pretty clearly (and based on the Roundtable, by design) frozen himself in time, with even the longish hair his Gen2 self had in FE4 being mostly retconned out of later OA. There’s quite a bit to unpack there but tl;dr, if Finn’s not wearing the exact same blue coat for twenty years he’s had it replicated and that says something.

As for Quan… he’s got a number of claims on his attention as far as sentimental headspace goes (Ethlyn, Sigurd, maybe Eldigan, Altena when they’re separated from her). Plus he’s loaded, so any gift from Finn to Quan would have to be something aside from the fine jewelry and rare weapons that we know Quan bestows on the people he cares about. I suspect on the occasions Finn gave his liege a present it was along the lines of a well-chosen book, probably military history or something like that, and Quan kept one on his person at most times and thumbed through it in idle moments of solitude.

#mrmissmrsrandom #jugdral meta #leonster bias #sad gay knight meta

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projectdevelopx-blog · 6 years ago

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Weekly Reading Responses:

Week 1:

a. Review the Client Brief and identify 3 of Northshore's 'assets'.

Supporting space:

- Location

- Tennis court

- the deck

b. What kind of story do you think you could tell about Northshore and its history?

I think a nautical element or something to do with how the space was used as a port and the future of Northshore. Possibly tie in something about the environment.

Week 2:

a. findings from the site visit, and the short article by PPS, 'How to Transform a Waterfront'? (https://www.pps.org/article/turnwaterfrontaround

The main locations that really stood out to me were:

- The shed

- The water tank

- Also considered the open spaces of land that had equipment on it (timber etc.)

I first had thoughts about using and the water tank for art installation spaces. The shed could be used for the same thing and also many more including a community space. I definitely that the existing destinations could be improved upon. At the moment the space is not lively, there was no shade, it’s a bit daggy and needs lots more action and colour going on before people see Northshore a space to come and enjoy themselves.

b. Barangaroo Reserve case study and Sarah Barn's article, 'Arrivals and Departures: Navigating an emotional landscape of belonging and displacement at Barangaroo in Sydney, Australia'

I personally think that the Barangaroo case study relates significantly to Northshore in a sense that they took a space which was once cherished and loved for what it was useful for and as it dated, it was turned into something which celebrates the memories of the area. I think that because of NorthShore’s historical context of it being Brisbane’s first port, lots of significant activities would have taken place at the port. People might have negative/positive connotations as the port is where I assume refugees would have arrived into Brisbane. People, like my grandfather, used to work as a ships captain and he worked at Northshore when it was a port. So, people like him who used to work in the area it would remind them of those days.

Week 3:

a. see 'Ideas Creativity and Innovation' - Chapt 2 in The Idea Agent

Idea process:

- Need

o Establishment of the project basis and framework (brief)

- Idea generation

o Methods and techniques are applied to this framework

o Use wide range of perspectives

- Screening and development

o Overview all ideas that fulfil the framework

o Ideas are reduced but quality is improved

- Enrichment

o Develop ideas more deeply taking them to a new level (graphic and illustrations)

- Result

According to the reading, Definition of innovation is:

Creativity – conceiving a new idea. Strategy – analysing the idea’s originality and usability.

Implementation – setting the unique, usable idea into motion and testing it in the real world. Profitability – maximizing the unique, usable idea’s added value.

This one really spoke to me as I never thought of it form this point of view. There are so many people out there trying to be “innovative” for their projects, or art work or what have you. There is already so much out there creating a really competitive space. However, I think we can use this to our advantage and pick parts from all different projects and bring them into one. There is very rarely going to be a project or idea that overlaps with another.

b. measures of success

Project success factors:

1. clear goals & agreement with project team

2. a statement showing: overall direction and roles/responsibilities

3. communication

4. controlled scope

- everyone to understand time frames

- brief

- idea (Inso/research/observations)

- curatorial rationale (work statement)

- what is it

- how is it different

- what makes it relevant/unique

- goals/objectives (hope to achieve)

- where to present it (location/ audiences/ multiple venues)

- team & stakeholders

- design/prototype (exhibition plan)

- resources (funding/time/people)

- plan (timeline/contingencies/different components/build on it)

Week 5:

a. slides from Lecture 4 & reading 'Community Development and Systems Thinking' by Spruill, Kenny and Kaplan, 2001).

“To understand the complex interactions that occur among elements of a system, can be especially helpful when a consultant is involved in a process of progressive, highly participatory community development.”

This reading was really refreshing to me because a huge factor I took from it was to sincerely have people’s interest at heart and to have the intention to better the community and space you live in. Personally, this had already come to my mind, however, it was just awesome to see evidence that other people truly care, and it made me super enthused for the subject.

From the lecture and the reading, I came to the understanding that an education element as well as an interactive element would really help to bring this community space to life. I like this section; The goal of using systems thinking in a community setting is to have community participants shift from being reactors to viewing themselves “as active participants in shaping their reality, [to move] from reacting to the present to creating the future.”

b. Chapter 3 - 'Know your Key Stakeholders and Win their Cooperation' (in Fast Forward MBA in Project Management by Eric Verzuh, 2008),

STAKEHOLDERS:

Week 7:

a. points on prototyping

I think from relevance form the lecture, readings, and group discussions, our group believes the following methods will be most effective to develop an accurate prototype/’s.

- Create an accurate atmosphere for the viewing audience

- Not just show but make them feel

- Make it clear

- Create different elements to your prototype

o Physical

o Digital

§ Photos

§ Videos

Week 8:

a. (Elverum et.al– esp. pp. 120-121)

“Combining digital and physical prototyping such as in mixed prototyping, for example, has great potential for developing and evaluating the usability of product interfaces [5]—a critical aspect of most new product systems.” This quote in the reading identifies that it is important to do both physical and digital prototypes. The reading recognises that the purpose of the prototype is great for the designer and project developer as it visualises it for ourselves so we know whether its achievable in many ways; design/budget etc.

b. (Gerber and Carroll- esp. pp. 131-135).

Design fixation is the idea of creating a project in your mind and fixating on it. a group member of mine started the design idea and she said she was worried about where it will end up and wasn’t keen on modifying it. but now we have clearly made some huge modifications using everyone’s input and she as well as the other group members are happy about where this project started and the progress we have made with it.

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slapthebass · 1 year ago

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DIR EN GREY - 「ゆらめき」[33rd SINGLE『19990120』収録] (Promotion Edit Ver.) (CLIP)

↳ Toshiya

#dir en grey #toshiya #y: 2024 #pv: yurameki 2024 #b: ESP prototype #stb gifs #pic: sourced

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spy-in-the-house · 7 years ago

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SpyInTheHouse/ 674.fm _ podcast 016 _ 09242018

One more wild all-vinyl ride by Claus Bachor (and so hosted by Psycho Thrill Cologne) through all different Electronica genres like HiTech-Jazz, House, Techno, Industrial, Breaks, Electro/HiTech Funk, Detroit, Chicago and Acid as the he first SpyInTheHouse 2018 fall-edition. Live recorded and streamed on September 24th, 2018 via 674.fm broadcast in Cologne/GER from 19-22:00 cet. FULL TRACK LISTING 00 PINK FLOYD [DAVID GILMOUR, NICK MASON, RICHARD WRIGHT, ROGER WATERS, SYD BARRETT]: Shine On You Crazy Diamond (1-2) [ A1/2-track(s) from “Wish You Were Here” Harvest SHVL-814 UK Album | 1975 ] 01 SPIRAL DELUXE [GERALD MITCHELL, JEFF MILLS, KENJI HINO, YUMKO OHNO]: E=MC² [ A-side from “Voodoo Magic” Axis AX-076/ Axis Audiophile Series 2xUS 12" | 2018 ] 02 THOMAS FEHLMANN/TERRENCE DIXON: Dreaming Of Packard [ A-side from “We Take It From Here” Tresor TRESOR-302 US 12" | 2018 ] 03 SPIRAL DELUXE [GERALD MITCHELL, JEFF MILLS, KENJI HINO, YUMKO OHNO]: The Paris Roulette [ B2-track from “Voodoo Magic” Axis AX-076/ Axis Audiophile Series 2xUS 12" | 2018 ] 04 MOLLISON FOLSON & SEAN TATE: Is It Because I’m Black _ Godson’s [RICK WILHITE] Flip Mix [ D-side from “The Godson IV” Mahogani Music MM-042 US 2x12" | 2018 ] 05 MODEL 500 [JUAN ATKINS]: Neptune [ B-side from “Sonic Sunset” R & S Records RS-94043 BEL 12" | 1994 ] 06 RICK WILHITE: Xanadu 3.0 [ A-side from “The Godson IV” Mahogani Music MM-042 US 2x12" | 2018 ] 07 SPIRAL DELUXE [GERALD MITCHELL, JEFF MILLS, KENJI HINO, YUMKO OHNO]: Let It Go _ Terrence Parker Mix [ D-side from “Voodoo Magic” Axis AX-076/ Axis Audiophile Series 2xUS 12" | 2018 ] 08 CAB DRIVERS [DANIEL PAUL & JENS AUGUSTOWSKY]: Holiday Time [ A-side from Cabinet Records Cab-53 GER 12" | 2018 ] 09 DRIVETRAIN [DERRICK THOMPSON]: Lozen [ A1-track from “Plexity” Soiree Rec. Int. SRT-170 US Test-12" | 2018 ] 10 THOMAS BARNETT: Overlords [ R-side from “FOUR313” Four313 The Label TL-001 US 2x12" | 2017 ] 11 TEKNOBRAT [THOMAS STEPIEN]: Relapse [ A2-track from “Plexity” Soiree Rec. Int. SRT-170 US Test-12" | 2018 ] 12 THOMAS BARNETT: The Original Day _ Original Dub mixed by Chez Damier [ B2-track from “Nude Photo The Official Release” Final Sessions FSL-006 US 12" | 2018 ] 13 MARK FLASH [MARKUS LOVELESS]: Elmwood Park [ A2-track from “Corktown EP” Elypsia ELY-06012 BEL 12" | 2018 ] 14 SCAN 7 [TRACKMASTA LOU ROBINSON]: He's Able [ B1-track from “Test Of Time EP” Transmat MS-087 US 12" | 2018 ] 15 MARK FLASH [MARKUS LOVELESS]: Kairad [ B1-track from “Corktown EP” Elypsia ELY-06012 BEL 12" | 2018 ] 16 ORLANDO VOORN: Waveforms Ahead _ Gary G’s Incoming Menace Mix [ A2-track from “Waveforms Ahead” Body Works #2 US 12" | 2018 ] 17 BIRD OF PARADISE [JO HOWARD]: Alone Again _ Steve Legget Dub [ A-side from “RV Trax” R&S Records RSRV-001 BEL 12" | 2018 ] 18 MARTYN [Martijn Deijkers]: Cutting Tone [ C2-track from “Voids” Ostgut Ton LP-029 / Kompakt GER 12" | 2018 ] 19 KECKCLIP [DENON RIKTUS]: Vesicle Interferon [ B-side from “unionmaide 2” Unionmaide Records UM-002 UK 12" | 2016 ] 21 PETTER B [PETTER BÖRGESSON]: Higher Thirds [ B2-track from “Unconfined EP” Bond-011 SWE 12" | 2017 ] 22 DIE GESTALTEN [HENNI HELL, JAN-KRISTOF LIPP, LARS BORGEFELD, MARKUS HOLLMANN-LOGES]: Der Aufstand [ A-side from “Der Aufstand” DIEGESTALTEN-001 12" | 2018 ] 23 AQUANAUTS [BILEEBOB, LAMONT NORWOOD, MILTON BALDWIN]: Cruiseship Killa [ A-side from “UR presents Aquanauts II” Underground Resistance UR7-056 / Submerge US 7" | 2005 ] 24 AQUANAUTS: Relentless _ Xpect No Mercy Mix [ A-side from “UR presents Aquanauts I” Underground Resistance UR7-060 / Submerge US 7" | 2003 ] 25 DJ SKURGE [MILTON BALDWIN]: Slide Skate [ A-side from “Slide Skate / The Time Haters” Underground Resistance UR7-064 / Submerge US 7" | 2005 ] 26 AQUANAUTS: Bubble Beats [ B-side from “UR presents Aquanauts I” Underground Resistance UR7-060 / Submerge US 7" | 2003 ] 27 DEREK CARR: Nauvoo [ C1-track from “Contact” Subwax Excursions SUBWAX E-X-C-LP003 ESP 2x12" | 2018 ] 28 DJ BONE [ERIC DULAN]: Lectronimo [ E2-track from “A Piece Of Beyond” Subject Detroit ‎SUB 044 US 3x12" | 2018 ] 29 KILLAWATT [MATTHEW WATT]: The Roamer [ A2-track from “47 016” 47-016 GER 12" | 2018 ] 30 MARK FLASH: Corktown Groove [ A1-track from “Corktown EP” Elypsia ELY-06012 BEL 12" | 2018 ] 31 DJ BONE: All My Heart [ C2-track from “A Piece Of Beyond” Subject Detroit ‎SUB 044 US 3x12" | 2018 ] 32 SRVD [MATT EDWARDS & PATRICK MASON]: Elevate _ Extended Mix [ A1-track from “Elevate” REKIDS ‎REKIDS-124 UK 12" | 2018 ] 33 DJ BONE: Sweat [ D1-track from “A Piece Of Beyond” Subject Detroit ‎SUB 044 US 3x12" | 2018 ] 34 MARCEL DETTMANN: Metalloid [ D-side from “Test File” Ostgut Ton ‎O-ton-114 / Kompakt GER 2x12" | 2018 ] 35 DJ BONE: Dreamers 9 [ C1-track from “A Piece Of Beyond” Subject Detroit ‎SUB 044 US 3x12" | 2018 ] 36 THOMAS FEHLMANN/TERRENCE DIXON: Strings In Space [ C-side from “We Take It From Here” Tresor TRESOR-302 US 12" | 2018 ] 37 FLUG [SEBASTIÁN LOPEZ]: Rave _ Original Mix [ A1-track from “Rave” Suara ‎SUARA-315 ESP 12" | 2018 ] 38 LOCKERTMATIK [STEPHAN SCHINDLER]: Lock 10.1 [ A1-track from “Ten” Lockertmatik 010 GER Promo-12" | 2018 ] 39 PERM [Stefan Schmidt-Dichte]: Untitled A1 [ A1-track from Shtum 008 GER 12" | 2015 ] 40 ANAXY [THOMAS ECKHARDT]: Lock 10.3 [ B1-track from “Ten” Lockertmatik 010 GER Promo-12" | 2018 ] 41 THE FLAT EARTH [THE DETROIT UNDERGROUND]: Mutual Suspicion _ "Decline"/ Radio Mix [ B1-track from “Mutual Suspicion” Rhythm Tech Records RT-0100 US 12" | 1989 ] 42 FINAL CUT [ANTHONY SROCK, GREG LUCAS, JEFF MILLS, JOSEPH LAFATA, MAX EDGIN, VAN CHRISTIE]: I Told You Not To Stop [ B3-track from “Deep In 2 The Cut” Full Effect Records FE0-700 US 12" | 1989 ] 43 THE FLAT EARTH: Mutual Suspicion _ Dix Mix [ B2-track from “Mutual Suspicion” Rhythm Tech Records RT-0100 US 12" | 1989 ] 44 INHABITANTS: Mut11 [ A1-track from “Mutations Volume II” Tachyon Audio TAC002 / Complete US Promo-12" | 2018 ] 45 PROTOTYPE 909 [DIETRICH SCHOENEMANN, JASON SZOSTEK, TAYLOR DEUPREE]: Anoise_NYC [ B2-track from “Outabeta EP” Schmer ‎schmer-012 / Complete US Promo-12" | 2018 ] 45 INHABITANTS: Mut1 [ B1-track from “Mutations Volume II” Tachyon Audio TAC002 / Complete US Promo-12" | 2018 ] 46 RUSH PLUS: Sweat [ B1-track from “The Sweat EP” E-MISSIONS EMS-005 / Complete US Promo-12" | 2018 ] 47 ANDRÉ KRONERT: The Trip _ re-mastered [ Odd Even ODDEVENONE-01 Decks GER ss-12" | 2018 ] 48 MARCELL DETTMANN: Error (1st Take) [ C2-track from “Test File” Ostgut Ton ‎O-ton-114 / Kompakt GER 2x12" | 2018 ] 49 DESERT SOUND COLONY [DSC]: Fast Life [ A1-track from “Fast Life” Touch From A Distance TFAD-001 GER 12" | 2018 ] 50 H2H [CHEZ DAMIER / BEN VEDREN]: Les Perdre _ The Demo Mix [ A-side from “Les Perdre / Thomas Barnett Mixes” Balance Import Promo 018 FRA 12" | 2018 ] 51 DELANO SMITH: They're Coming [ A-side from “They're Coming / Safe Place” Mixmode 013 US 12" | 2018 ] // 674.fm _ video-stream parts ONE & TWO

#ClausBachor #psychothrillcologne #spyinthehouse_radio #spyinthehouse #techno #somewhereincologne #cologne

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slapthebass · 6 months ago

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@narita_deg on Twitter

#die #toshiya #kaoru #dir en grey #y: 2018 #g: ESP SLP-680 Snake #g: the snake one #b: ESP Prototype #b: b&w esp #g: ESP Ganesa #g: pink ganesa #for reference #pic: sourced

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mysticaldarknight · 7 years ago

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FIRE ALTARS FIRE ALTARS, a survey of sites. Fire altar is a term adopted by modern researchers to designate the stand upon which sacred fire was placed. Strictly speaking, the designation “fire altar” is incorrect, since the structure was not used to receive a sacrifice, but simply to hold the fire for the purposes of veneration, probably contained within a metal or clay bowl. Mary Boyce has suggested the appellation “fire-holder”; although more accurate, this designation has not won wide acceptance (Boyce, Zoroastrianism II, p. 52; Houtkamp, p. 24). Because the term fire altar has such immediate and direct connotations of Zoroastrian worship, it should probably also be restricted to those structures which have a clear Zoroastrian religious context. Scholarship concerning fire altars has rarely been this precise, and the term has in general been used to characterize any altar-like structure which may have held sacred fire (see EIr. III, pp. 7-9, for terms designating the fire altar). The question of the identification of fire altars is further complicated by our lack of understanding of the exact role of sacred fire in ancient Iran (and how that role may have changed over time), how and when the structures identified as fire altars were used in ancient ritual, and whether the appearance of a fire altar indicates the presence of Zoroastrian ritual or some other, unknown religion (Genito, 1987; Herrenschmidt; in general see Boyce, Zoroastrianism I and, II; Boyce and Grenet, Zoroastrianism, for criteria for identifying the presence of Zoroastrian religion). Classical literary sources and Achaemenid artistic evidence (e.g., seals, tomb reliefs, etc.) suggest that sacred fire assumed a central role in the religion of the Achaemenid kings, although its exact nature is lost to us (Houtkamp, for the pictorial evidence; Boyce, Zoroastrianism II, passim, esp. pp. 50-62, 112-16; Yamamoto, 1979, pp. 26-36); the question is intimately tied to the continuing debate on Achaemenid state religion and the role that Zoroastrianism played (cf. Boyce, Zoroastrianism I and II; Herzfeld; Beneviste; Duchesne-Guillemin, 1953; idem 1958; Gerschevitch, pp. 8-22; Kellens, ed.; for evidence provided by the Persepolis Fortification tablets see Koch, 1977 and idem, 1991; cf. Boyce, Zoroastrianism II, pp. 132-37, commenting on Koch). Most scholars have sought the origins of Zoroastrian and Achaemenid fire worship in veneration of the household hearth fire (Boyce, Zoroastrianism I, pp. 154-55; Genito, 1982, passim, esp. pp. 231-32). How much earlier we can project back the worship of fire is unclear (for an extreme view see Khlopin, who traces the fire altar back to the fourth millennium B.C.E.). J. Houtkamp and Yumiko Yamamoto (1979) have collected the archaeological and pictorial evidence for fire altars in the Achaemenid, Seleucid, and Parthian periods (see also Schippmann, 1971, pp. 473-85; Stronach, 1985; Genito, 1987). Of the two types of altar which the pictorial evidence preserves, the distinctive Iranian altar with a stepped top and base has been quite frequently identified in the archaeological record (Moorey; Boyce, Zoroastrianism II, pp. 145-148; Yamamoto, 1979, pp. 30-36, identifies three types of altar). On the other hand, the second form of altar, the crenellated tower altar, is almost entirely absent in the Iranian archaeological record (but cf. the rock-cut altar in Fārs at Bāḡ-e Bodra [Stronach, 1966, pp. 223-24, fig. 7], perhaps Achaemenid in date, which conceivably represents an example of the tower altar). Various other types of structures have also been characterized as fire altars. Predating the Achaemenid period is the altar found in the central temple at Tepe Nūš-e Jān (near Hamadān), dating to about 750-600 B.C.E. (Plate I; Stronach, 1973; Houtkamp, p. 34; for other references see Boyce, 1975, pp. 456-57). This plastered mud brick altar had a straight-sided socle rising directly from the floor, surmounted by four steps. In the middle of the square upper surface a shallow, hemispherical fire bowl showed extensive traces of burning (Stronach, 1984, pp. 479-80). It is clear from the shallowness of the bowl, however, that it could never have sustained ever-burning fire. The striking stepped form of this altar suggests that it could have been a prototype (pre-Zoroastrian) for the later stepped stone altars of the Achaemenid period (Stronach, personal communication). The two well-known square limestone plinths in the sacred precinct at Pasargadae (Fārs) may have some connection to a fire ritual (Plate II; Stronach, 1978, pp. 138-45, figs 70-71, 74; Yamamoto, 1979, pp. 28-29, for a survey of interpretations). The southern one has a stepped top and stone steps. The northern one may also have had a stepped top. How exactly these structures were used is unknown, although the southern one is identified as a podium for viewing fire displayed on the northern one. Construction technique and historical circumstance of the site of Pasargadae suggest a date at the time of Cyrus. Pasargadae has also produced a fragment of a three-stepped altar top with a deep bowl and two three-stepped altar bases (one of which may belong to the altar top; see Stronach, 1978, pp. 141-42, fig. 72, pl. 107b; Houtkamp, p. 37; Plate III). Boyce (Zoroastrianism II, pp. 51-52) takes these fragments to be the earliest known fire altar. At Altin Tepe-10 (q.v.; south of Turkmenistan), in one of the corner rooms in Structure II, there was found “a heap of three-stepped unbaked clay pyramids covered with white gypsum,” which have been interpreted as remains of a fire altar (Sarianidi, p. 102, figs. 49-50; Houtkamp, p. 34). The suggested date is late 5th century B.C.E. At Dahan-e Ḡolāmān (q.v.; Sīstān) Building 3 (QN3), a large square courtyard surrounded by porticoes and rooms (towers) in the corners, was described by Scerrato as a “holy building” (Scerrato, 1979, p. 712). In its earlier Phase A the building contained some forty-seven fire “chests” (ibid., p. 716). In phase B, the complex was completely re-modeled, and the porticos housed “large ovens,” “stoves” and “fire-places.” In the middle of the courtyard there were three rectangular altars, each standing on a wide base and having small stairways (perhaps present in Phase A as well; Scerrato, 1979, p. 724). Scerrato (1979, p. 719) suggested that a fire burned inside each altar. In a slightly later Phase B1, ten to twelve low rectangular platforms, each having a hemispherical depression in its center to contain fire, were installed in the north portico. Scerrato (1979, pp. 725, 731-33) suggested that building QN3 provided the earliest evidence for the worship of three deities and the “Indo-Iranian doctrine of the three fires” (cf., however, Boyce, Zoroastrianism II, pp. 128-31, articulating the un-Zoroastrian character of the complex). Building QN3 is usually dated in the Achaemenid period (cf. Houtkamp, p. 16; Schippmann, 1971, pp. 50-57, figs. 6-7). Dahan-e Ḡolāmān has also yielded the stepped base to a “fire altar” (house QN6; Scerrato, 1979, p. 727, fig. 16; Genito, 1987, pp. 480-81, pls. 1, 3) and a complete “fire altar” with stepped top and hemispherical depression for fire or fire container (near building QN16; Scerrato, 1979, p. 727, figs. 18-19; Genito 1987, pp. 480-81, pls. 2-3). The excavators feel that both are Achaemenid in date (Houtkamp, p. 36). The site of Bünyan (in central Turkey) has produced a possible altar (now in the Museum of Anatolian Civilizations, Ankara): a limestone pedestal with a two-stepped plinth (with relief decoration) and top (Houtkamp, pp. 34-35). The exact context and date of the monument are not known. A four-stepped top of a pink sandstone altar has been found at Ḵākrīz (Khakriz; Kermānšāh; Gaube, p. 155, fig. 2, pl. 32.4; Houtkamp, p. 36). Dates for the monument vary from Achaemenid (Kleiss) to Sasanian (Vanden Berghe, p. 515). The conquest of Persia by Alexander the Great and the subsequent Hellenization of the country evidently brought a great deal of destruction of Persian religious sites (Boyce and Grenet, Zoroastrianism, pp. 3-22). Classical sources describe, however, actual fire temples, thus providing contemporary documentation for the temple cult of ever-burning fire (Yamamoto, 1979, pp. 41-42, 49-50; Boyce and Grenet, Zoroastrianism, pp. 235-38, 269-71). Strabo (15.3.15) describes an ever-burning fire altar and its associated upkeep and ritual in Cappadocia; Pausanias (5.27.5-6) in Hierocaesareia and Hypaepa in Lydia. The late source Isidor of Charax also refers to the survival of a fire in the town of Asask, home of the Arsacid dynasty (Schippmann, 1971, pp. 33-34; Boyce, 1975, pp. 461-62); perhaps this fire was the dynastic fire of the Arsacid family (Yamamoto, 1979, pp. 40-41). Owing to the large number of independent regional powers in the Parthian period, scholars postulate an increase in local “dynastic fires” (e.g., Boyce, Zoroastrianism I, p. 461), a practice which may have its origin in the Achaemenid period. Depictions of stepped fire altars occur on at least one series (the third series: Darius II, Ozathres, and Artaxerxes II) of silver coins of the so-called frataraka rulers of Persis (Houtkamp, pp. 44-45; Yamamoto, 1979, pp. 45-49, pl. 53; Boyce and Grenet, Zoroastrianism, pp. 110-16; Stronach, 1966, pp. 220-23, 227; Sellwood, pp. 300-6, pls. 10/12, 11/2), as well as on the coins of the Arsacid rulers Vologeses I (Yamamoto, 1979, p. 449, pls. 54-55) and Vologeses IV (Duchesne-Guillemin, in Camb. Hist. Iran, p. 867). Fire altars of other shapes occur in the coinage of Hierocaesareia, Hypaepa, Zela and a few other Greek cities (Boyce and Grenet, Zoroastrianism, pp. 230-31, 235, 288, 300), on some tomb reliefs in Media (Boyce and Grenet, Zoroastrianism, pp. 95-106) and perhaps on rock-cut reliefs at Bīsotūn and Tang-e Sarvak (Schlumberger, pp. 1041, 1043-44, pl. 64). The innermost room of the fire temple at Kūh-e Ḵᵛāja (Sīstān, Schippmann, 1971, pp. 57-70, figs. 10 and 83; Yamamoto, 1979, p. 43), a monument with a still uncertain structural history, yielded (in later levels) a stepped fire altar which Ernst Herzfeld dated to the first century B.C.E. (Figure 1; Yamamoto, 1979, p. 43, pl. 34, identified it as the oldest surviving Zoroastrian altar; but now cf. Huff). Site IV at Šahr-e Qūmes (near Dāmḡān, q.v.) shows a plan with some similarities to that of the temple at Tepe Nūš-e Jān (Yamamoto, 1979, p. 44-45, fig. 7). The building was abandoned in the first century B.C.E. In room 5 was discovered a small plinth (plastered mudbrick) which supported a “fire bowl.” The room described as a small sanctuary in the temple at Sorḵ Kotal (Afghanistan) preserved a long “bench-altar” with attached bird figures and large amounts of ash (Schippmann, 1971, pp. 492-96, fig. 81; Yamamoto, 1979, 44-45; Boyce, 1975, pp. 461-62). Although this structure has been linked with an ever-burning fire ritual, neither the altar nor the layout of the sanctuary conform to Zoroastrian types. The square central room of the complex had a large stone platform in its center whose function is unclear (fire altar, support for cult image, or both?). The date of the complex is uncertain (Boyce, 1975, pp. 461-62; Stronach, 1985, pp. 622-23). At Taḵt-e Sangīn (on the right bank of the Oxus River) each of two subsidiary rooms in the temple contained a square fire altar (Boyce and Grenet, Zoroastrianism, pp. 173-79). In the corners there were also small fire altars, and large amounts of ash covered the floors. All the altars were mud brick and had received numerous coats of plaster. According to the excavators, these chambers were a feature of the temple from its inception. Boyce considered the complex the “earliest clear example of temple fires kept according to Zoroastrian regulations” (Boyce and Grenet, Zoro astrianism, p. 178). She did not consider the structure a fire temple, but an image temple with accessory fire chambers. In the lower city at Persepolis (Fārs) about 300 m. from the terrace, Herzfeld uncovered a structure which he called the “Fratadara Temple” (Plate IV; Schippmann, 1971, pp. 177-85, fig. 24). Room 5 of the western part of the complex contained a stepped-stone pedestal, perhaps the base of a stepped fire altar (fig. 4; Kleiss, figs. 1-2). The date (Achaemenid-Seleucid) of the entire complex has often been debated (Stronach, 1985, pp. 612-17, for recent survey of the evidence). Boyce (Zoroastrianism II, pp. 226-27), preferring a Achaemenid date for the whole of the western complex, identified it as an image shrine dedicated to Anahita, and characterized Room 5 as a “side chapel, with a different dedication.” In a subsequent publication (Boyce and Grenet, Zoroastrianism, pp. 117-18), she was less certain of both the date and function of the building. The enigmatic structure unearthed by Marcel-Auguste Dieulafoy (q.v.) at Susa (Ḵūzestān) has often been identified as a temple (Schippmann, 1971, pp. 266-74, 496, fig. 38, for discussion and references). Dieulafoy’s plan may show the possible presence of an altar between the four columns of the main room, but his text makes no reference to such an installation (Stronach, 1985, p. 621; Schippmann, 1971, fig. 38). Dieulafoy (pp. 411-15) dated the building to the Achaemenid period based upon the style of the architectural fragments, but a Parthian date has also been suggested by David Stronach (1985, pp. 619-21, suggesting a date in the 2nd cent. B.C.E; Yamamoto, 1979, pp. 37-38, follows Dieulafoy’s dating). Various literary sources, such as the inscriptions of Shapur I and his high priest Kirdēr (Boyce, Zoroastrianism II, pp. 222-23; Duchesne-Guillemin, in Camb. Hist. Iran, pp. 876-79) and Nāma-ye Tansar (ed. Mīnovī, p. 68) show that the establishment of Sasanian rule involved the destruction of many local dynastic fires. This seems to have been part of the early Sasanian kings’ desire to establish their dynastic fire as a symbol of the unity of the whole empire. The Sasanian period also saw, however, the foundation of new fires, many established to eradicate the worship of idols and to substitute in their place the worship of fire (see ĀTAŠ for types of fire identified in the Sasanian period). Pahlavi books repeatedly mention three famous sacred fires for the Sasanian period: Ādur Burzēn-Mihr (in Parthia), Ādur Farnbāg (in Fārs), and Ādur Gušnasp (in Media; qq.v.). Most scholars assume that they pre-date the Sasanian period, and all three had traditions connecting them with the original creation in Zoroastrian myth, but evidence is lacking as to the exact times of their actual founding (see Schippmann, 1971, pp. 86-94, 340-54; Boyce, 1975, pp. 459-60; Boyce and Grenet, Zoroastrianism, pp. 74-81; Yamamoto, 1979, p. 42; idem, 1981, pp. 74-75, 84-85). The relocated Ādur Gušnasp has been identified as the site of Taḵt-e Solaymān in Azerbaijan (see below); the exact locations of the other two fires are unknown. Depictions of fire altars are common, especially on seals and coinage (Yamamoto, 1979, p. 46; idem, 1981, pls. 18-35). Seals almost always depict the stepped altar type (one or two steps; Yamamoto, 1981, pp. 68-71). Coins show variations of the familiar stepped altar with fire blazing atop it; the king stands to the left of the altar in an attitude of reverence, a variety of personages to the right (ibid., pls. 2-9). Sasanian issues of the 4th and 5th centuries sometimes show a human bust in the flames on the altar or on the pillar (ibid., pp. 69-70, reviews the evidence). The appearance of fire altars on official coinage shows again the interconnectedness of fire cult and political legitimacy for the Sasanian kings. The rock relief of the investiture of Ardašīr I at Fīrūzābād includes a fire altar in the form of a large bowl supported by a pillar on a squared stand (ibid., pl. 1). Yumiko Yamamoto (1981) and Klaus Schippmann (1971, pp. 475-76, 499-515) have collected the material concerning fire altars and fire worship for the Sasanian period. The stepped altar remained the standard type in the period. Schippmann (p. 505, and Table 3) identified forty-nine or fifty fire temples for the Sasanian period, the great majority of them occurring in Fārs and the neighboring provinces of Ḵūzestān and ʿErāq-e ʿAjam. Both Schippmann (pp. 499-510) and Yamamoto (1981, p. 79) identified the ubiquitous square structure having an arch in each wall (čahārṭāq “four arches,” q.v.) and piers in each corner supporting on squinches a dome (gonbad) as the place where the sacred fire was housed in the fire temple. Stronach (1966, pp. 219-20, 226; idem, 1985, pp. 623-27) has discussed the standard juxtaposition of an open čahārṭāq and a protected ataškada (repository for the sacred fire). Especially in southwest Persia, fire temples seem to have been a ubiquitous feature of the landscape. Ḵosrow II Parvēz alone is reported to have founded 353 fire temples (Duschesne Guillemin, 1983, p. 896). Of the fifty fire temples Schippmann (1971) identified for the Sasanian period, forty-one of them are čahārṭāqs, the great majority of them located in Fārs and Erāq-e ʿAjam (q.v.; note, however, the possible fire temples in central Asia at Kurgan Tepe [an earlier square altar base replaced later by a circular one; see Pugačhenkova] and Panjīkant [fire cult associated with image worship; see Škoda]). Few of the fifty structures catalogued by Schippmann are well preserved, excavated and/or well published. The preservation of actual fire altars from these sites is also rare. The most famous (and one of the largest and best preserved) fire sanctuary from the Sasanian period is the complex located at Taḵt-e Solaymān in Azerbaijan, to which place the famous fire Ādur Gušnasp seems to have been moved sometime in antiquity (Schippmann, 1971, pp. 309-57, figs. 41-46; Yamamoto, 1981, p. 75, figs. 1-2; Duchesne-Guillemin, in Camb. Hist. Iran, p. 895). In a small, well-protected room in the western part of the complex was found a large three-stepped base of an important stepped fire altar, perhaps even that of the main fire itself (Boyce, 1975, pp. 464-65; Yamamoto, 1981, p. 75, pl. 48). The site has also yielded several other possible fire altars (Huff). In the Sasanian period there were also open-air religious sites which have yielded fire altars. The most celebrated are the twin altars at Naqš-e Rostam near Persepolis in Fārs (see FĀRS v. PLATE III ). Each of the cubic altars carries a relief of an arch on each of its sides ( Yamamoto, 1981, p. 97, pl. 53; Stronach, 1966, pp. 219-20, 227, fig. 6, defending Erdmann’s thesis that the design of the altars emulates the čahārṭāq). A different form of the same type occurs singularly at Kūh-e Šahrak (Fārs; Stronach, 1966, figs. 2-5). Rock and stone monuments of various shapes which support fire bowls on their top surfaces have been documented at Darra-ye Barra (q.v., Fārs; Stronach, 1966, p. 224, figs. 8-11), Tang-e Karam (Fārs; Stronach, 1966, pp. 224, figs. 12-13; cf. contra, Trümpelmann, pp. 21-22), Naqš-e Rostam (Stronach, 1966, p. 224, fig. 19; Vanden Berghe, p. 514), Kūh-e Ayyūb (Fārs; Stronach, 1966, p. 226), and Bīšāpūr (q.v., Fārs; Stronach, 1966, p. 223). Stepped altars supported on pillars occur at Qanāt-e Bāḡ (Fārs; Stronach, 1966, p. 224; Vanden Berghe, pls. 60-63), Pengān (Vanden Berghe, p. 514), Kūh-e Ḥosayn (Fārs; Vanden Berghe, p. 514), Kūh-e Raḥmat (Fārs; Vanden Berghe, p. 514), Šamīrūn (Vanden Berghe, p. 514), near Sīrāf (Fārs; Gaube, pp. 154-57, pl. 32.1 and 32.5), and Persepolis (Scerrato, p. 726; Schippmann, 1969; Vanden Berghe, p. 514). Fire bowls in the tops of these monuments indicate that they held fire, but the exact manner in which they were used is unknown. Because all these free-standing monuments stand in the open, certainly none of them could have held an ever-burning fire (Vanden Berghe, pp. 516-18, for speculations on their uses). The platforms in the open air sanctuaries at Bard-e Nešānda (q.v., Ḵūzestān) and Masjed-e Solaymān (Ḵūzestān) have also been identified as supports for (now missing) fire altars (Schippmann, 1971, pp. 233-51, figs. 33-36, for Masjed-e Solaymān [dating disputed]; 251-58, fig. 37, for Bard-e Nešānda). See also ĀTAŠ; ĀTAŠDĀN; and ĀTAŠKADA. Bibliography (for cited works not given in detail, see Short References”): E. Benveniste, The Persian Religion According to the Chief Greek Texts, Paris, 1929. M. Boyce, “On the Sacred Fires of the Zoroastrians,” BSO(A)S 31, 1968, pp. 52-68. Idem, “On the Zoroastrian Temple Cult of Fire,” JOAS 95, 1975, pp. 454-65. J. de Menasce, Feux et foundations pieuses dans le droit sassanide, Paris, 1964. M. A. Dieulafoy, L’Acropole de Suse d’après les fouilles exécutées en 1884, 1885, 1886 sous les auspices du Musée du Louvre, Paris, 1893. J. Duchesne-Guillemin, Ormazd et Ahriman. L’Aventure dualiste dans l’Antiquité, Paris, 1953. Idem, The Western Response to Zoroaster, Oxford, 1958. Idem, “Zoroastrian Religion,” in Camb. Hist. Iran III/2, pp. 866-906. H. Gaube, “Im Hinterland von Sīrāf,” AMI 13, 1980, pp. 149-66. B. Genito, “Hearths of the Iranian Area: A Typological Analysis,” Annali Istituto Orientale di Napoli 42, 1982, pp. 195-245. Idem, “Altari a gradini nell’Iran antico,” in G. Gnoli and L. Lanciotti, eds., Orientalia Iosephi Tucci Memoriae Dicata, IsMEO, Serie Orientale Roma 54/2, Rome, 1987, pp. 475-86. I. Gerschevitch, The Avestan Hymn to Mithra, Cambridge, U.K., 1959. C. Herrenschmidt, “La religion des Achéménides: Etat de la question,” Stud. Ir. 9, 1980, pp. 325-39. E. Herzfeld, “The Iranian Religion at the Time of Darius and Xerxes,” Religions 15, 1936, pp. 20-28. J. Houtkamp, “Some Remarks on Fire Altars of the Achaemenid Period,” in Kellens, ed., pp. 23-48. D. Huff, “Grabrelief von Deh Now,” Stud, Ir.28(1999), pp. 7-40. J. Kellens, ed., La religion iranienne à l’époque achéménide, Actes du Colloque de Liege 11 decembre 1987, Iranica Antiqua Supplement 5, Gent, 1991. I. N. Khlopin, “Zoroastrianism: Location and Time of its Origin,” Iranica Antiqua 27, 1992, pp. 95-116. W. Kleiss, “Bermerkungen zu achaemenidischen Feueraltären,” AMI 14, 1981, pp. 61-64. H. Koch, Die religiösen Verhältnisse der Dariuszeit: Untersuchungen an Hand der elamischen Perse polistäfelchen, Göttinger Orientforschungen 4, Wiesbaden, 1977. Idem, “Zu Religion und Kulten im Achämenidischen Kernland,” in J. Kellens, ed., La religion iranienne à l’époque achéménide: Actes du Colloque de Liège 11 decembre 1987, Iranica Antiqua Supplement 5, Gent, 1991, pp. 87-109. D. N. Mackenzie, “The Fire Altar of Happy *Frayosh,” Bulletin of the Asia Institute 7, 1993, pp. 105-10. M. Mīnovī, ed., Nāma-ye Tansar, 2nd ed., Tehran, 1354 Š./1975. P. R. S. Moorey, “Aspects of Worship and Ritual on Achaemenid Seals,” in Akten des VII. Internationalen Kongresses für Kunst und Archäologie, München 1976, AMI Ergänzungsband 6, Berlin, 1979, pp. 218-26. G. A. Pugačhenkova, “Un temple du feu dans le ‘grand Soghd’,” in F. Grenet, ed., Cultes et monuments religieux dans l’Asia centrale préislamique, Paris, 1987, pp. 53-72. V. I. Sarianidi, “Bactrian Centre of Ancient Art,” Mesopotamia 12, 1977, pp. 97-110. U. Scerrato, “Evidence of Religious Life at Dahan-e Ghulāmān, Sistān,” in M. Taddei, ed., South Asian Archaeology 1977, Naples, 1979, II, pp. 709-35. D. Schlumberger, “Parthian Art,” in Camb. Hist. Iran III/2, pp. 1027-54. D. Sellwood, “Minor States in Southern Iran,” Camb. Hist. Iran III/1, pp. 299-321. K. Schippmann, “Hinweise und Anmerkungen zu einigen sasanidischen Monumenten,” Iran 7 1969, pp. 157-62. Idem, Die iranischen Feuerheiligtümer, Berlin and New York, 1971. V. G. Škoda, “Le culte de feu dans les sanctuaries de Pendzikent,” in F. Grenet, ed., Cultes et monuments religieux dans l’Asia centrale préislamique, Paris, 1987, pp. 63-72. D. Stronach, “The Kūh-i Shahrak Fire Altar,” JNES25, 1966, pp. 217-27. Idem, “Tepe Nūsh-i Jān, 1970: Second Interium Report,” Iran 11, 1973, pp. 129-38. Idem, Pasargadae, Oxford, 1978. Idem, “Notes on Religion in Iran in the Seventh and Sixth Centuries B.C.,” in Orientalia J. Duchesne-Guillemin emerito oblata, Acta Iranica 23, 1984, pp. 479-90. Idem, “On the Evolution of the Early Iranian Fire Temple,” in Papers in Honour of Professor Mary Boyce, Acta Iranica25, 1985, pp. 605-27. L. Trümpelmann, Zwischen Persepolis und Firuzabad: Gräber, Paläste und Felsreliefs im alten Persien, Zaberns Bildbände zur Archäologie 1, Mainz, 1991. L. Vanden Berghe, “L’autel du feu de Qanāt-i Bāgh,” Acta Iranica 23, 1984, pp. 511-18. Y. Yamamoto, “The Zoroastrian Temple Cult of Fire in Archaeology and Literature (I),” Orient 15, 1979, pp. 19-53. Idem, “The Zoroastrian Temple Cult of Fire in Archaeology and Literature (II),” Orient 17, 1981, pp. 67-104. Figure 1. Stepped fire altar, Kūh-e Ḵᵛāja (Parthian). After Herzfeld, Iran in the Ancient East, London and New York, 1941, p. 301, fig. 397. Plate I. Pre-Achaemenid fire altar and protective wall, Tepe Nūš-e Jān (8th-7th c. B.C.E.). Courtesy of D. Stronach. Plate II. Dual plinths, Sacred Precinct, Pasargadae (Achaemenid, time of Cyrus). After D. Stronach, Pasargadae, Oxford, 1978, pl. 103. By permission of Oxford University Press. Plate III. Fragment of fire bowl (inverted), Pasargadae. After Stronach, Pasargadae. By permission of Oxford University press. Plate IV. Possible fire altar in Room 5 of the “Fratadara Temple” at Persepolis (Parthian). After Herzfeld, Iran in the Ancient East, pl. LXXXV. (Mark Garrison) Originally Published: December 15, 1999 Last Updated: January 26, 2012 This article is available in print. Vol. IX, Fasc. 6, pp. 613-619 Cite this entry: Mark Garrison, “FIRE ALTARS,” Encyclopædia Iranica, IX/6, pp. 613-619, available online at http://www.iranicaonline.org/articles/fire-altars (accessed on 30 December 2012). FIRE ALTARS 0 COMMENTSADD COMMENT 1 TAGADD A TAG SECTIONS IN THIS ENTRY IMAGES / TABLES TAGS ©2018 ENCYCLOPÆDIA IRANICA. ALL RIGHTS RESERVED. ISSN 2330-4804

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quartzcomponents · 4 years ago

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ESP32 WROOM-32 MCU Module

The ESP32 is a development board developed by Espressif systems. It can be programmed using Arduino IDE and ESP-IDF. It has higher processing power than ESP8266 but it is more costly and bigger in physical dimension than ESP8266. It has a built in Bluetooth module and CAN protocol and SRAM. It has 36 GPIO Pins with a CPU clock of 160MHz. It has 12-bit ADC onboard and supports CAN, UART, I2C and I2S. It can be used in prototyping IoT products, Low power Battery operated application, small range networking projects, and with the projects which require many Input Output Pins and Wi-Fi and Bluetooth connectivity.

ESP32 WROOM-32 MCU Module Specifications

Microprocessor : Tensilica Xtensa LX6

Operating Voltage : 3.3V

Analog Input Pins : 12-bit, 18 Channel

DAC Pins: 8-bit, 2 Channel

Digital I/O Pins : 39 (of which 34 is normal GPIO pin)

SRAM : 520KB

WiFi : 802.11 b/g/n

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eternityengine · 5 years ago

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okay so I wrote a “review” (really just my thoughts in a disorganized way) of Sonic Forces about a year and a half ago and never got around to posting it, but I still have it so I’m posting it now because I have opinions

Main Game

Green Hill. Again. Argh. I mean at least they tried to change it up a little by throwing sand over it but that didn't really make any sense. (sega plz)

Look, I like Chemical Plant alright (for some godforsaken reason), but it's already been in Gens and Mania. Just give us Mystic Cave Zone or Mushroom Zone or something! Hell, use both! We could have Mushroom Zone instead of Green Hill Zone!

I gotta say the goop waterfalls in Network Terminal are really flow-breaking, you just come to a dead stop if you touch them and have to stop half the time to avoid hitting them, and you can't reliably avoid them very well. You can't even boost through them!

Luminous Forest is pretty and all but uuuuuggghhhhh casino levels suck

Infinite is delightfully edgy and I thoroughly enjoyed him, but they didn't utilize him very well.

Infinite's battle themes reflect his boss battle quality!

First battle: total banger of a song, pretty good boss fight (runnin’ on a SNAKE)

Second battle: excellent song, decent boss fight (best use of his nightmare zone powers, at least in the first half)

Third battle: okay song, boring reskin of the Metal Sonic boss fight

Why did they not give us a Chaos boss fight :( lame

Also why did Infinite use Chaos 0 instead of literally any other version, all of which are stronger? Like, would Perfect Chaos use too much energy or something?? He made giant snake versions of himself just fine...

Actually, why couldn't those have been Chaos??

Metal Sonic fight was okay but way too similar to Silver's in Gens

Also why is Metal Sonic a copy?? Just use actual Metal, come on, Eggman

There was no resolution to Infinite's plot and I am disappoint

Why does Infinite just flip the Avatar around with the Phantom Ruby in Metropolis? I feel like he should be at least shooting cubes at you or something instead of just occasionally passing by to frick with your gravity in suspiciously convenient ways

If Sonic was tortured for six months why is there no indication of this? He doesn't look or act any different than usual. Even without being tortured (as in the JP script), he should at least have some ill effects from being imprisoned for half a year.

I'm okay with Knuckles being the commander of the Resistance but who thought it was a good idea to let him come up with strategies? He's mostly a traps and punching guy on that front. I realize Tails was gone and all but I feel like most of the other characters could have strategized better.

Classic Sonic does basically nothing of note and has the worst levels and gameplay. Why is he even here if they weren't going to use him properly?

Caveat: I'm mostly going off of other people's statements re: his gameplay, I suck at Classic games overall and would probably dislike his levels regardless

Why does destroying the Phantom Ruby send Classic back to his dimension? I wouldn't think the Ruby would need to actively hold him there...

First of all, I feel like Tails should have been able to fix Omega. Secondly, why did they leave him there for six months?? Thirdly, HOW DID HE GET FIXED????? (Loved that he was here, though.)

I want to see the fight between Silver and Infinite, it was probably super awesome

Okay, so I can kind of excuse the giant snake given the giant worms of Lost Hex, but why would it try to eat Sonic. He'd be a tiny snack. What does it even normally eat? Other giant snakes?? (Is it an illusion??)

Why are both of Classic Sonic's boss fights just bomb tennis

Why is the final boss called a Death Egg Robot? The only similarities are in the first form's head (when protracted) and its primary (shoulder) arms. The rest is tentacle snake nonsense. And the second form is a straight-up tentacle robot, and somewhat similar to the Nega-Wisp Armour. And it's not even on the Death Egg!

Final boss was really ominous though, I liked it. First, dramatic orchestral music. Then, it murders you repeatedly by barely telegraphing its attacks to a first-timer. (Stop killing the floor!!) Then you "beat" it and a chestburster tentacle robot explodes out and dumps you in null space. The actual tentacle bot fight was kind of a letdown though, it was basically just the Nega Wisp Armour from Colours instead of something new... (also I was bad at timing my laser dodges so some salt there)

How is Classic Sonic doing Homing Attacks in the Death Egg Robot's third phase? He literally can't do them yet, wtf. (I choose to believe Modern Sonic and/or the Avatar is throwing him at it :P)

The water slides in Aqua Road are neat and fun the first few times, but when you're trying to S-rank the level they are such a pain. The RNG with the Motobug bouncing is the woooooorst. (Getting unavoidably knocked into spike balls sucks.)

Also why were a) spike balls there to begin with, it's enough of a challenge not falling out, and b) the spike balls moving slower than everything else in the slides? And then slow you down to their speed if you hit them, so when your invincibility runs out you're still glued to them and die?

Avatar gameplay is really fun, but I'm not a fan of how many automatic grapple points there are. Just let me do it!! It's not hard!!!! (Plus some of them are really unnecessary)

No boss fight with fake Shadow either, but that's less disappointing than Chaos for whatever reason (maybe because he's around more?)

Gotta say though I liked a much larger portion of the music in this game than usual, it's really good

However, the music for Classic's Green Hill stage is screechy garbage.

A good chunk of the stuff conveyed with the overworld dialogue would have been better presented as actual cutscenes (esp. the ones that use sound effects :/)

There is literally an area called "City" are you freaking kidding me

Okay, so Eggman decides to drop the sun on the Resistance...but he's also there?? I assume he's like, just not included in the illusion and is just laughing at their stupid faces, but it would have been nice to have some indication of that.

Why even make Zavok copies?? He sucks and no one likes him. Also he's kind of part of a set, where are the other Zeti copies?

I realize this is a video game, but why does Infinite make such easily dodgeable cube obstacles/attacks? "Ah yes let me make some long rectangles with big gaps to go through at each end, this will never fail"

I would like to thank Sonic Team for not making Imperial Tower a timed mission, that shit was hard enough as it is

I would also like to thank Sonic Team for making Imperial Tower so easy to cheese with Hover Wispons

I really wish the Null Space level had more...Null Space. You're in it for like 30 seconds, and it's a waste of a really pretty level design. AND it's just a straight shot that's 80% Double Boost.

Why is Double Boost a thing? The Avatar is just some random civilian, they shouldn't have weird team-up super speed powers.

I love that basically all of Sonic's friends are here doing stuff again, it is glorious. (Even though they were kind of epic fails until the Avatar joined/they got Sonic back...)

However, it would have been nice to see them occasionally doing stuff in the levels (like beating up robots in the background or something), rather than just in cutscenes.

Classic Sonic doesn't get an Infinite fight. :(

Which is weird, since he's the only playable character with Phantom Ruby experience/story.

In Final Judgement, the radio chatter includes them going "so this is where Eggman built Infinite" and...there are several things wrong with that. First of all, "built"? He's organic, it would be better to say something like "created" - even putting aside that that would be more metaphorical, as Eggman didn't straight-up create Infinite the person, just his current identity (not that they have any reason to know that - but they have no reason to think he made him either). Secondly, how are they coming to this conclusion? There's no tubes or assembly machines around until the end tubes with Phantom Ruby prototypes(?) in them, and those are part of the reactor. Plus an early cutscene has Infinite in a tube in a completely different area, though it could have been contained in the same superstructure. I mean I guess you could argue that the level looks like a factory?? Thirdly, how can they even see inside? They're not there.

Episode Shadow

Why is this so goddamn short. Only three levels? Really??

Why is the last cutscene just the first one from the main game?? They should be explaining where tf Shadow's been during the main game! So lazy.

Aqua Road is like 80% waterslides whyyyyyy

Infinite is really bad at getting revenge, holy shit. He just...illusions him for a bit until he gets away?? With some cube attacks tbf but STILL...

Also this shit never comes up in the main game why exactly? (I know the answer is probably they came up with this later like FOOLS, but argh)

ALSO also why do Infinite's attacks not send Shadow into the nightmare realm like they do in the main game?

Why do they go to such lengths to hide Infinite's face if they just straight up show it in his comic??

Honestly the way Shadow treats Infinite in this feels kinda out of character. I feel like he wouldn't be quite that harsh. (Definitely in character if it was Boom!Shadow, though...)

I am disappointed that Shadow is just a Sonic reskin. Let me use Chaos Spear! >:(

Also disappointed that Shadow can only be played on Modern Sonic stages; why not also Tag stages??

Misc

Infinite's theme is hilariously edgy and I love it (could do without the rap tho)

Kinda disappointed that this game has no fancy CGI cutscenes. I always look forward to those...

I think they had way too much nostalgia-baiting in this game. Classic Sonic, four previous Sonic villains (mostly Chaos and Metal Sonic though), Death Egg Robots, Green Hill and Chemical Plant and Death Egg...it just smacks of desperation. Not sure if it's "Generations was popular let's do that again" or just general trying to get fans back, but it's silly. You expect this sort of thing for Generations bc it was an anniversary game, but this one decidedly isn't and it feels like they're grasping at straws trying to get/keep players.

Also this is a Modern Sonic game, why is 50% of the content not playing him. Why is Classic even heeeeeeere

#sonic forces #sonic the hedgehog #eternal yakking #eternal griping

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