![]() The Kid returns to the club, to be greeted by the approval of his fellow musicians and the embrace of a teary-eyed Apollonia. ![]() However, before he can mount his motorcycle, he realizes that the crowd is thrilled by his new song. As the emotional song ends, the Kid rushes from the stage and out the back door of the club, intending to ride away on his motorcycle. ![]() Once on stage, the Kid announces that he will be playing "a song the girls in the band wrote", dedicated to his father-revealed to be "Purple Rain". That night at First Avenue, all is quiet in The Revolution's dressing room until The Time stops by to taunt the Kid about his family life. The next morning, the Kid picks up a cassette tape of one of Wendy and Lisa's compositions, a rhythm track named "Slow Groove", and begins to compose. In a frenzy after a night of torment, the Kid tears apart the basement to release his anger, only to find a large box of his father's musical compositions. When he turns on the basement light, his father-who had been lurking in the basement with a loaded handgun-shoots himself in the head. Returning home, he finds the house in tatters, with his mother nowhere to be found. The Kid seizes Apollonia from a drunken Morris and the two argue and fight Apollonia then abandons him. The debut of Apollonia 6 is a success, and Billy warns the Kid that his First Avenue slot is at risk. Billy confronts the Kid, castigating him for bringing his personal life onto the stage and warning him that he's wasting his musical talent as his father did. His performance publicly humiliates Apollonia, who runs off in tears, and angers both Morris and Billy, worsening his situation. When she reveals her partnership to the Kid, he becomes furious and slaps her, as his father had struck him earlier.Īt the club, the Kid responds to the internal band strife, the pressure to draw more crowds, and his strained private life with the uncomfortably personal "Darling Nikki". She eventually joins Morris's group, which Morris names Apollonia 6. He targets the Kid's girlfriend Apollonia-an aspiring singer and new arrival in Minneapolis-to lead his group, and tries to persuade her that the Kid won't help her because he's too focused on himself. Morris, aware that The Revolution's guitarist Wendy and keyboardist Lisa are frustrated by the Kid's unwillingness to play their compositions, lobbies Billy Sparks, the nightclub's owner, to replace The Revolution with a girl group which Morris is already forming. First Avenue's three house band slots are held by The Revolution, the flashy Morris Day and his group The Time, and Dez Dickerson and his group The Modernaires. To escape his difficult home life – his father is verbally and physically abusive, and his mother is emotionally abusive – he spends his days rehearsing and his nights performing at the First Avenue nightclub. "The Kid" is the talented but troubled frontman of his Minneapolis-based band, The Revolution.
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![]() Just drag and drop folders from your Mac to allow PhotoSweeper to find all photos inside. You have a mess in your photo collection or just want to free disk space by removing junk photos.You have photos scattered on external hard drives and local disks, in Apple Photos, Lightroom Classic or Capture One libraries.You edit photos with software like Photoshop, Pixelmator etc., and make backups just in case.You take a series of shots of the same scene trying to get the perfect one."I do like this app, it works really well and under the hood is written to utilize the abilities of your Mac." MacTricksAndTips "PhotoSweeper is a simple and efficient utility for organizing photos. "PhotoSweeper packs a powerful punch in de-cluttering any size collection. “Swift, easy to use, thorough, analyzes specific libraries, can search according to various criteria, offers choices in photo handling” TheNextWeb It works with Photos, iPhoto, Aperture, Capture One and Lightroom Classic media libraries as well as photos from your hard drives and external storages. PhotoSweeper also serves as an up-to-date photo browser with a built-in search of photos by metadata, Quick Look preview, the "Info" panel with a detailed photo description, including histogram and image metadata (EXIF, IPTC etc.).PhotoSweeper is a fast, precise & super efficient tool to eliminate similar or duplicate photos even in huge photo collections. PhotoSweeper provides 3 modes for reviewing results: “One by One”, ”Face-to-Face" - one or two large photos with an opportunity to mark a photo with just a click, “All in One“ - all groups of duplicates in one list. Mark photos you want to get rid of manually, or use the "Auto Mark" feature to mark duplicates automatically based on the list of rules you can adjust to your needs in the Preferences. Using caches makes the next comparison much faster. You can regroup the results without re-comparing photos by changing matching level with a slider. Cutting-edge technologies and unique algorithms make searching duplicates incredibly fast and gives excellent comparison results. PhotoSweeper was developed as a tool for extremely fast comparison of a huge number of photos. It allow you to compare the contents of two folders with each other or find similar photos to a single image. The app finds duplicate photos, even those edited in external programs such Photoshop, regardless of image size or format.įind duplicates between two groups of photos while ignoring those inside each group. Powerful multi-settings to easily find duplicates, similar photos, series of shots. Add more photos from your Photos, Capture One or Lightroom Classic library via the Media Browser window. ![]() ![]() PhotoSweeper is a fast, precise & super efficient tool to eliminate similar or duplicate photos even in huge photo collections. ![]() The choice of background color depends on the desired effect and the overall aesthetic you want to achieve. Some common alternatives to black include white, gray, or even vibrant colors that complement the subject of the picture. While adding a black background to a picture is popular, you can also experiment with other background colors. What other background colors can I use instead of black? These apps are user-friendly and can be a great option for editing pictures on the go. Simply download the app, import your picture, select the background, and apply the black color. ![]() Apps like Snapseed, Adobe Photoshop Express, and PicsArt offer features that let you change the background color of your image to black. Is it possible to add a black background to a picture on a smartphone?Ībsolutely! There are numerous photo editing apps available for smartphones that allow you to add a black background to a picture. These tools are convenient for those who don’t have access to professional software. Simply upload your picture, select the background, and choose the black color to replace it. Websites like Pixlr, Canva, and Fotor offer easy-to-use interfaces where you can upload your image and apply various effects, including changing the background color to black. Yes, there are many online photo editing tools available that allow you to add a black background to a picture. Can I add a black background to a picture using online photo editing tools? Step 4: Save the image with the new black background.īy following these steps, you can easily add a black background to your picture using Adobe Photoshop. Step 3: Fill the selection with black using the paint bucket tool. Step 2: Select the background using the selection tool. To add a black background to a picture using Adobe Photoshop, follow these steps: What are the steps to add a black background using Adobe Photoshop? This will give your picture a solid black background. ![]() Simply open the image in the software, select the background, and fill it with black using the paint bucket tool. With these programs, you can easily change the background color of your picture to black. One way is to use photo editing software such as Adobe Photoshop or GIMP. If you want to add a black background to a picture, there are several methods you can use. Can I add a black background to a picture taken with a mobile phone? How to Add a Black Background to a Picture?Ģ0. Preview the final result to check for any imperfections or areas that need further adjustment.Save the picture in a format that supports transparency, such as PNG.Use the software’s masking or selection tools to apply the black background to specific areas.Experiment with different shades of black to achieve the desired effect.Ensure the picture is properly sized and positioned before adding the black background.Select the “Edit” or “Adjustments” option in the software’s menu.Ĭhoose the “Fill” or “Background” tool and set the color to black.Ĭlick and drag the tool over the picture to apply the black background. Open the picture in the photo editing software of your choice. Add a black background to a picture using photo editing software. With these steps, you can easily add a black background to any picture. Finally, save your edited image as a new file to preserve the original. ![]() Use the “feather” tool to soften any harsh edges. Next, refine the edges of the subject to ensure a clean separation from the black background. Adjust the brush size and opacity as needed for precise editing. Use the “brush” feature to carefully paint over the current background with black. Open your image in the software and select the “background” tool. To add a black background to a picture, follow these simple steps using photo editing software. Adjust opacity and save the edited image. Select the picture, create a new layer, fill it with black, and position it behind the picture layer. To add a black background to a picture, use a photo editing software like Photoshop. The foil should be about one inch larger than the cake on all sides. Place a piece of foil on top of the perlite.Dunking in water is not recommended with the spawn bags because they will not absorb water directly into the grain. Start by removing the colonized grain from the bag.You will need vermiculite in this method to provide moisture to the cake and keep it hydrated. In this method, substrate jars are used.The second most popular way to fruit your spawn bags would be to use a container with dampened perlite (white volcanic rock).The bulk Casing Method has become the most popular method for first-time spawn bag growers. This method provides five times the surface area, resulting in a much larger yield. But once it does, the fruiting result will be strong and worth it. It will take some time for the substrate from the spawn bag to recolonize the uncolonized substrate, about a week or two. The photo below is a spawn bag full of colonized and ready to move to the next step! Unlike jars, the speed at that spawn bags germinate and colonize may have much more significant variance. Complete colonization may take 30-45 days, depending on the species and the temperature you incubate. Note: Check out our shop for more mushroom growing supplies.Ģ. We only suggest this step when you have very slow-growing bags. This step is optional as you must be careful not to break them up too much and destroy the mycelium network. After spreading the white mycelium, gently re-pack the grain to its original shape. (Optional) Between 14-17 days, you can break up the bags with your fingers to spread the mycelium. Unlike jars, Spawn bags colonize from the inside out, so you most likely won’t see any mycelium growth for 7-14 days. Place your spawn bags in a warm, dark location (75-81 degrees) and leave to incubate. Part 2: Colonization of the Mushroom Spawn Bagġ. The goal is to provide a channel or path from the grain to the filter. Slowly pull the two sides apart and be careful not to touch the white filter. Unroll the spawn bag and make sure the filter patch is upright. Make sure you inject in multiple locations to help spread your spore solution.ĥ. Use a total of 3-5 cc’s of spores per spawn bag.Ĥ. Pull the needle halfway out, angle it in a different direction, and inject another 1-2 cc’s of spores. Push the needle about 1/2 inch into the bag and inject about 1-2 cc’s of spores. Pull the syringe needle cover off of the syringe.ģ. ![]() Manifest.json:1 Manifest: Line: 1, column: 1, Syntax error. ![]() Manifest.json:1 Failed to load resource: the server responded with a status of 404 () I will try again later from my Mac.Ī preload for ‘ ’ is found, but is not used because the script type does not match.ĭ/:1 Error handling response: TypeError: Cannot read property ‘takeRecords’ of undefinedĪt Function.e.closeListeners (chrome-extension://clmkdohmabikagpnhjmgacbclihgmdje/content-script.js:1:5858)Īt chrome-extension://clmkdohmabikagpnhjmgacbclihgmdje/content-script.js:1:3858 I don’t know if any of these message are relevant. I tried accessing the demo from my Chromebook but the language selection prompt didn’t do anything, so I couldn’t proceed. OK, here are some screenshots from the demo server that uses the Gramps example tree: For me, the most important addition will be to add read/edit support, which of course requires adding this to the Web API first. There hasn’t been much activity in the repository recently since I was busy with other things, but I will definitely keep developing this (I need it for myself!) and would love to have more devs join. What is the development status & roadmap for the project? The frontend reached its first usable state in December 2020 and I have used it in production since. Following a discussion on this board, we started developing an app-independent backend (the Gramps Web API), so I split the frontend code into a new project that became Gramps.js. Based on this, I developed a first, simpler Gramps web app. Nevertheless, in Gramps 5.0 much work was done by the developers to make the code more modular and to make many functions accessible to other Python packages. I was interested in the Gramps Connect app but it never really materialized. What is it the motivation for & history of this project? I always wanted a way to share all the research I collect in Gramps with my family/relatives, but didn’t want to work with static HTML exports. (This is actually a limitation of the Gramps Web API, not the Gramps.js frontend.) So, whether this app or one of the existing reports are right for your depends on your use case. ![]() First and foremost, the app is currently much more difficult to deploy - you can’t use a vanilla web hosting service but need docker hosting or your own (virtual) server. And in principle, the app scales to enormously large databases, as the objects are only fetched in chunks. Arbitrarily many views can be generated dynamically without having to generate a huge number of HTML files. How does it compare to the narrated or dynamic web site reports? The philosophy is very different, as the backend (the API) runs directly on top of your Gramps database (or a copy of it), so no export is necessary. when you’re on the go with a mobile device but without a PC. family or relatives additionally, it is meant as an alternative way to access (and later also edit) the information in Gramps, e.g. What is it meant for? It’s meant for sharing all your genealogical research data - that you are of course organizing with Gramps! - with others, e.g. It can run on the same server as the API or on a different one. In other words, it’s one of many possible ways to leverage this new API. How does it work? Technically, Gramps.js is a pure Javascript, client-side user interface that visualizes information it can access via the new Gramps Web API. What is it? It’s a web app that can be used to browse all the information in your Gramps tree - people, relationships, media objects, places, … - via a web browser. I’ve been using it already for half a year, but would like to advertise it now to have more users give it a try and hopefully more developers joining and adding new features. I’d like to point out Gramps.js, a web frontend to your Gramps database. Annealing will soften the metal so that you can work with it. If you want to cut a HC rail spike mechanically (like with a blade instead of with a cutting torch) then you may want to anneal it. The file set is under $100 so it’s a lot more affordable. It’s not exact as a Rockwell testing machine, but those things usually are usually around $1200. Even if you don’t, it’s nice to know how hard something is before you trash your band saw blades when it never stood a chance of cutting. They work surprisingly well and it’s a really handy kit to have if you do your own heat treating. That’s a link to the set that I’ve been using for years. If you want a reasonably accurate method of determining how hard a metal is and don’t mind spending some money to add to your toolbox, using special hardness testing files is the most economical way of testing a range of hardnesses that I’ve found. That only works when the metal is harder than the file, and railroad spikes don’t get that hard.Įven then, you’re not going to know what the actual composition is from just heat testing since there are a lot of spikes that are low alloys with copper, manganese, and who know what in them. Since no rail spikes are high carbon steel, you’ll never get a regular file to skate across the hardened metal instead of biting in. Try heat treating it to see if you can harden it. Honestly, the best way to figure out what an old spike is made from is to just test it a bit. One place to find them online is McMaster-Carr. You can usually get them for $2 or $3/pop in small quantities. Or, if you have a batch of items that you want to make and sell, buy new ones. Ideally, get your spikes from leftovers tossed out from rail repair jobs. Really old spikes could be made of anything. There are two really popular kinds of rail spikes: low carbon and higher carbon.įrom what I’ve researched, the low carbon spikes have been phasing out since the 70’s in most areas in favor of the tougher higher carbon ones. Unless you have a metallurgist buddy, that is. Ok, maybe I didn’t do that great of a job with naming that heading – something along the lines of “likely variations” might be better…īasically, unless you’re buying brand new rail spikes that are certified and you also buy the standard that they were manufactured to (usually around $40-$50), it’s almost impossible to know exactly what’s in them. This will further help to prevent cracking. Sometimes they’ll be a bit of an alloy, with metals like copper mixed in to help make them more malleable. If anything, they’ll have less carbon and therefore won’t get as hard. Rail spikes usually aren’t an exact equivalent though. You won’t see it used for cutting tools, since it won’t hold an edge that well. That’s why it’s commonly seen in applications like heavy duty gears and shafts. It’s a “workhorse” steel – it’s tough and can handle a load well. The low carbon spikes are essentially mild steel.ġ045 is heat treatable. That’s about the rough equivalent of a 1045 steel. That’s why a rail spike that’s labeled HC (higher carbon) will only have about 0.4% carbon. In the standard it actually says that it must conform to the requirements for A36 steel, which is public information. This is the higher carbon steel Category 3 This is where it states that there are 3 general categories of track spike. It’s a current standard that controls the requirements for railroad spikes, and it was last reviewed back in 2013. That’s the standard that I’m drawing my information from. So the metal needs to be soft enough to bend without shattering. So it’s not practical for it to be too hard.īut a rail spike that’s bent can still do its job. If you whack it with a hammer, it’ll crack.Ī shattered rail spike holds no track (ancient Chinese proverb? If it’s not it should be). When a steel has a high carbon content and is heat treated so that it’s hard, it becomes more brittle. It needs to be strong and tough to do its job. It’s not subjected to wear like the track is. ![]() Required PropertiesĪ railroad spike holds the track in place. Ok, to understand what the material is like, we should preface this with what it’s intended to do. The original plaster forms, like the paintings on foil, are never shown. (The leitmotif of the camera – a box with an aperture accepting a flood of light – is present here, as is that of printing, especially if one accepts as part of that process the stringent editing and finishing to which Pearson subjects all his work.) As with the solarizations, these sculptures corral a mixture of fluid gestures into still, dry media and a closely cropped format. These two categories of prints – one a silver gelatin photograph, one a digital c-type print – were subsequently triangulated with a third element: plinth-mounted sculptures made from polished bronze, cast from plaster poured into a box-like mould. Untitled (Plaster Positive) (detail), 2012, Hydrocal and walnut frame, 152 × 111 × 9 cm Like much of Pearson’s work, they are talking about something that is very, very far away. They have been described by some commentators as reminiscent of the sun when obscured by ‘June Gloom’ – hazy white discs burning through fields of flat black or grey.3 This is also what relates them to the solarizations: both strands of his practice acknowledge the fundamental role of the sun in the photographic process. Contradictory because, while the latter are small, intense and gestural, the ‘flares’ are large, minimalist and somewhat vapid. The resulting ‘flares’ (again, Pearson’s terminology for the untitled works) are both contradictory and sympathetic to the solarized prints. Dwelling on his original intent to make abstract photographs, he retrieved the negatives exposed in the sun-damaged camera, and used them to make digital scans. Pearson refers to the untitled prints as ‘solarizations’.2 They comprise the first strand of what he now considers his mature work, though they were not alone for long. In others, texture evaporates into a dreamy softness that recalls the photograms of László Moholy-Nagy and Man Ray. Sometimes, an impression in the photograph of the crinkled metal survives, or a dark dribble attests to the fluidity of paint. These photographs are distant and detached artefacts: each seems to possess a dim memory of wild energy and fast movement but their deadened, silver gelatin surfaces make it hard to parse their original materiality. Each print is untitled and unique, and the original foil paintings are destroyed. Sometimes he solarizes the prints in the darkroom, an unpredictable process that involves flashing the unfixed image with light in order to tonally reverse areas of white and black. Pearson’s prints are always the same size – six by four-and-a-half inches, mounted with wide borders in wooden frames – and, aside from a few early experiments, are all black and white photographs of gestural paintings he has made, usually on pieces of aluminium foil. One long exposure was so intense that it burnt a hole in the interior of his camera. He rented a 500 mm telephoto lens in order to take photographs of the sun. He was always disappointed with the pictures that he took. He would wander, alone, in landscapes that seemed to him freighted with atmospheric significance. He was looking for ways to make a photograph that asserted itself as a singular object, that was no longer washed in the same churning ocean as every other photograph ever taken. At first he took pictures of people, then places with people in them, then landscapes without people, then landscapes depicted almost entirely in silhouette, then the sky only. Pearson trained as a photographer in the 1990s. Taken in its entirety – not just photographic prints but gloopy bronze obelisks, dark tablets cast from clay and more – it comes into focus as a taut matrix, extending in unexpected ways from the ‘four-sided arena’ of Pearson’s personal and professional rôle as an artist living in Los Angeles. ![]() His work is rapt in conversation with the art of the past. He has, however, made a number of art works that resemble miniaturized black and white photographic reproductions of archetypal Abstract Expressionist canvases – hints of Franz Kline here, Helen Frankenthaler or Robert Motherwell there. The interest lies in the kind of act taking place in the four-sided arena, a dramatic interest.’1Īnthony Pearson is not an action painter. ![]() The painting itself is a “moment” in the adulterated mixture of his life.’ He continues: ‘With traditional aesthetic references discarded as irrelevant, what gives the canvas its meaning is not the psychological data but rôle, the way the artist organizes his emotional and intellectual energy as if he were a living situation. ‘A painting that is an act,’ wrote Harold Rosenberg in his trenchant 1952 essay ‘American Action Painters’, ‘is inseparable from the biography of the artist. Untitled (Tablet), 2012, bronze relief with silver nitrate patina, 200 × 8.3 × 1.9 cm ![]() Apart from these details, other basic questions include how often you exercise, the time of the day when you are most productive, the devices that you will use for the Lumosity training program, and how long you sleep at night. To gain access to their online brain games, you need to sign up and provide some basic information such as gender, academic studies, current profession, and how you heard about Lumosity. Our brain can be described as a muscle, therefore training provided to the muscle would help in the longevity and increases the effectiveness of the brain as similar to the rest of the body. If you feed your brain with motivation, good perspective, nutrients, and essential exercises, then it would surely perform much better over time. However, the effects also differ from person-to-person since it involves other factors such as maintaining healthy habits, personality, outlook, awareness, and genetics.Ī person who is a non-negative thinker would see that there are a lot of potential or benefits along with motivation of scores as the games progress. It has also led to an increase in brain power such as improved memory and focus. Certain people have benefitted in a way wherein brain fog has decreased. There have been certain reviews, which confirm that brain cognitive training tends to work by carrying out these online games. While Lumosity may not lead to a direct impact, but somewhere, it can indirectly make a lot of difference if one needs that boost in their self-confidence. There is still research going on in this area, particularly about the exact intention of the test and the serious effects it would have on the capabilities of the brain including the alteration of the intention in a meaningful method. It has a placebo effect, wherein one believes that by carrying out the tests and also getting better in them would lead to an improvement in the quality of life and overall brain development of an individual. There is a level of self-confidence attached while carrying out the tests. However, there is still no clear correlation between them. This area is something that is not completely understood yet. The point of carrying out or going through the games offered by Lumosity is to improve the overall IQ of an individual. Psychological tests do not offer a comprehensive coverage of the intelligence or the capabilities of the brain. The Stroop Color and Word Test (SCWT) is carried out to measure cognitive flexibility and selective attention. Other games such as the N-back test is designed to measure working memory and capacity. ![]() These tests are used to determine how the inner workings of the mind work. Do these brain-training games really work?įirst, let's ask what are these new age brain games setting in for? Does brain-training really work in the real world? Lumosity and few other brain-training online games are mostly built on the platform of psychological tests. You can also change the language of the app by carrying out certain changes in the settings of the device. English is the default language for devices that support other languages. The mobile application is available in English, French, Portuguese, Japanese, Spanish, and German languages. Each workout mode has carefully curated a set of games, which use the individual's training habits and preferences to target various ways in brain training. The mobile application has daily workouts, which are drawn from around more than 30 games that challenge five core cognitive abilities. They provide qualified researchers almost free access to the training tools of Lumosity to help them investigate newer areas of cognition. Lumos Labs also works with various universities worldwide. The designers transform these tasks developed by the scientists into fun games that can challenge an individual's core cognitive skills. Scientists at Lumos Labs take the common cognitive and neuropsychological tasks and design entirely new tasks or challenges. Lumosity is a team of game designers and scientists, who explore and create new ways to challenge the brain and push cognitive research forward. It offers a wide range of brain-training programs, which consists of more than 30 brain games. Today, Lumosity has been used by over 90 million people across the world. Have a question about Lumosity? Ask a doctor now Team ![]() CPU usage can be tracked by individual cores or with all cores combined, to save menubar space. CPU & GPU Realtime CPU graphs and a list of the top 5 CPU resource hogs. Menubar graphs can now use dark backgrounds, improving legibility. CLICK HERE to download and install all the apps you need for a single monthly price! iStat Menus for macOS sports a completely new design - new menubar icons, new dropdown menus, and the app and icon itself have all been redesigned to be cleaner, clearer and more at home on El Capitan and Yosemite. Note: Instead of buying a license for this app, at Setapp you could get access to this one plus another 230+ commonly used macOS apps for only $9.99/month. Included are 8 menu extras that let you monitor every aspect of your system. Improved and new localisations (36 languages in total).Ĭompatibility: Intel, 64-bit processor, OS X 10.IStat Menus for Mac lets you monitor your system right from the menubar. Reorderable dropdown menus, with the ability to hide sections.Additional options, like dual line menubar clocks, and condensed text for showing more in less space.Hotkeys to open and close menu dropdowns, for quick keyboard access.More colors and theme options, including light and dark vibrant menu dropdown backgrounds. ![]()
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