![]() ![]() Topham illustrates a wide array of futuristic 60’s design, including Haus-Rucker-Co’s “Fly Head” (1968), shown here, but the essence of it, for him, can be distilled into Matti Suuronen’s ellipsoid Futuro House of 1968, and the furniture designs and interior landscapes of Verner Panton. Moreover, space helped usher in an era characterized by disposability–multi-million dollar rockets were discarded after one use, as were paper dresses, while plastic chairs and tables would be replaced rather than repaired. For Topham, the futuristic “look” of the 60’s was deeply influenced by themes and imagery drawn from space, more directly in references to space helmets, space suits, satellites, and capsules, less directly in the use of aluminum–the material of early satellites–and perhaps the vivid blues of shots of earth from space. This visual component was brought home, literally, by architects and designers during the 1960’s. Shown here is a rendering from Clarke’s factual rather than fictional account, and a shot of the jammed nose cone on Gemini 9. Confidence, swagger, and technical mastery were suggested graphically, and awe was elicited with photos of rocket launches and breathtaking views from space. From Arthur Clarke’s 1951 “The Exploration of Space” on, a succession of images prepared people for the coming conquest of space. It is hard for someone my age to look back at the imagery of the early postwar space age without a tinge of nostalgia, but look back we must because Topham argues, rightly, how important visual information was in disseminating ideas about space travel. Part of Topham’s argument has to do with a child’s sense of wonderment representing a broader cultural reaction to the exploration of space-he suggests the idea of a fresh start several times, and notes that space travel entered the home first in the form of children’s toys. I was ten at that moment, and so was a child when manned space flight went from dream to reality. Topham sets the stage for his book with a comment from a 12-year-old boy on the eve of the lunar landing in 1969. Rather than a book review, this is a book reaction, and that reaction is visceral. Subtitled “The Rise and Fall of Futuristic Design,” it traces the roots of the Space Age to WWII rocketry (Werner von Braun et al) and Cold War technological competition, though after a chapter on space flight it brings the disquisition down to earth with a long section on the impact of space-mania on 1960’s living environments. ![]() Published in 2003, it’s called “Where’s My Space Age,” by Sean Topham. I got around to perusing a design book this week that was on my summer reading list.
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And Marchetti has a point: there’s no traditional Kipper card that overlaps with 39-Community. I’m not sure that 38-Toil & Labour is needed when the deck already has 34-Occupation, but I’m willing to wait and see if there’s a clear difference between them in readings. Certainly cards like 24-Thief and 32-Despair can hint at financial strain, but Marchetti’s 37-Poverty tackles it straight on. For instance, there are three Kipper cards that touch on financial gain: 11-Sudden Wealth, 26-Great Fortune, and 27-Unexpected Income (13-Wealthy Man may also count). With 36 cards trying to cover most of human experience, there’ll be some thin spots in coverage, if not outright gaps, but these look like they’ll help. Marchetti has added three cards and I’ve kept them in the deck.* When I try to think how the same idea might’ve been shown if I’d left them out, it seems like the idea could be misunderstood. On a similar theme, the Kipper card 26-Great Fortune means…great fortune.Ī standard Kipper deck has 36 cards, like the Lenormand. For this to make sense, you have to know about four-leaf clovers and how finding one is supposed to be lucky. I suppose you could have a Lenormand reading in which 2-Clover referred to a patch of Trifolium repens, the white clover, but it usually means luck. ![]() Many Kipper cards also have more literal names. Unlike Lenormand cards, Kipper cards don’t have playing card inserts. 8-False Person is both a deceitful person and the qualities of deception and treachery. People cards appear to be both people and representations of the situations they’re in, i.e. It’s hard to tell with the Fin de Siècle deck, though, because some cards that were people cards in German have become situations in English (30- Gerichtsperson (“court person”) became Judication-given the awkwardness of the literal translation, I see why) or vice versa (24- Diebstahl (“theft”) became Thief). Which is a slight exaggeration on my part: the people cards make up only about a third of the deck. Yes, there was a book (neither white nor all that little), and yes, I can read them (!).įirst impressions? Like the Lenormand, Kipper cards feel better suited to practical, “mundane” readings, rather than the more psychological readings I get from the tarot. It feels like doing a reading with a deck that’s mostly Court Cards. ![]() What I saw of Marchetti’s Fin de Siècle Kipper did appeal to me-no surprise there-and I figured there’d be a little white book or the equivalent, so I got it. I’d heard of Kipperkarten, but the few pictures I’d seen hadn’t attracted me, and most of the material I’d found on them was in German, so I didn’t know how I’d learn them even if I got a deck. Late last year, I learned that Ciro Marchetti had done a Kipper deck. ![]() Now I’m trying a third kind: the Kipper cards. I probably could’ve stuck with it forever, but a few years ago, I discovered I could read Lenormand cards as well. Not that I’ve felt restricted, given how deep and meaningful the tarot is. I wasn’t interested in learning cartomancy, and the oracle decks I tried usually didn’t work for me. Tarot was my first love, and it was the only sort of cards I read for decades. For all my love of divination, I’m a bit limited when it comes to reading cards. ![]() With Revolution Software’s new format and modernized form of play, the elegance of playing Beyond a Steel Sky seems to be due to clear game design and decades of experience building worlds that tell stories both implicitly and explicitly.ĭavid Jagneaux is a contributor to IGN. Domino effects like that still happen everywhere and adventure games are all about figuring out which order to lay out the pieces before you start knocking things over. For example, I still had to retrieve a data transmitter from a bird, to then give it to a young woman to get an ID, which I needed to get into the city, to find a person. That’s not to say things aren’t complex though. You can still expect multiple solutions to some events and often overlapping objectives, but I didn’t find myself bashing my head against the wall getting stuck on things as often. To counteract this it does seem like, at least initially, Revolution Software is utilizing more simplistic puzzles from what I’ve seen as compared to adventure games of yore. It’s also much faster and easier to quickly scan entire environments, click on many things, and try out puzzle solutions without having to always physically move your character and explore every nook and cranny manually. A finely crafted scene of pure pixel art just oozes personality by contrast. ![]() ![]() Perhaps it’s due to the era in which I grew up, but pixel art is just inherently endearing to me whereas a cel-shaded aesthetic often struggles to flow well, can come off as stiff, or even lack nuance since textures are mostly flat. The same thing happens again once you finally get Foster inside of Union City itself, with a sweeping camera shot that highlights the cyberpunk aesthetic.Īll that being said, classic adventure games have a certain type of simplistic charm that is missing here. That sort of cinematic presentation just isn’t possible with a more traditional adventure game format, and it helps build up the emotion and anticipation of the narrative. So this walkthrough guide should help you if you get stuck. But as with the original, there are lots of puzzles to solve. It’s a 3D third-person game instead of 2D, and you’re move around using an invisible joystick. For example, after the intro animation, the camera pans over the desert (or gapland) showing Foster walking out through the wasteland. Beyond a Steel Sky is the sequel of Revolution Software’s classic point-and-click adventure, Beneath a Steel Sky. ![]() DVD and Blu-ray menus can be created and edited in Adobe Photoshop using special layering techniques. Files are automatically transcoded to MPEG-2 or H.264/MPEG-4 AVC video and Dolby Digital audio. ![]() Adobe Encore is a software tool for authoring DVD and Blu-ray - produced by Adobe Systems and targeted at semi-professional video producers. Adobe Dynamic Link integrates After Effects with Premiere Pro and with Encore. Adobe Dreamweaver is a combination code / GUI web development application. Adobe Device Central's primary purpose is to integrate parts of the Creative Suite together to offer both professional and individual creative professionals, web designers and mobile developers an easier way to preview and test Flash Lite, bitmap, web and video content for mobile devices. It allows a wide variety of people within an organization to update web pages by reducing the amount of web design skills necessary for the process. Adobe Contribute can edit the content of a website. Its primary purpose is to link the parts of the Creative Suite together using a format similar to the file browser found in previous versions of Adobe Photoshop. Adobe Bridge is an organizational program. ![]() Adobe Audition is a digital audio editor that provides the modern interface and seamless workflow of Adobe Soundbooth with the precision and power of Audition. It can be used in film and video post-production. Adobe After Effects is a digital motion graphics and compositing software published by Adobe Systems. Adobe Reader is a free application that allows the reading of PDF files. Adobe Acrobat Standard, Adobe Acrobat Professional, and Adobe Acrobat Professional Extended all allow for the creation of PDF files. Brief descriptions of the applications in the various Adobe Creative Suite editions: Adobe Acrobat is a software family dedicated to Adobe's Portable Document Format (PDF). ![]() This is especially important if you are a victim of smoke inhalation during a fire, because you could have inhaled other toxic gases besides carbon monoxide.Īfter a poisoning that occurs indoors, your doctor will ask about the condition of fuel-burning appliances and equipment in your home and at work and about the quality of ventilation in these areas. Information about the exposure will be collected from the emergency personnel, your relatives, or both. If you are unconscious, your doctor's first priority is to stabilize your condition, providing emergency treatment such as oxygen, fluid and treatment for seizures. People with long-term exposure to low levels of carbon monoxide also can have numbness, unexplained vision problems, sleep disturbances, and impaired memory and concentration. If you are exposed to very low levels of carbon monoxide over a longer period (weeks or months), your symptoms can appear like the flu, with headache, fatigue, malaise (a general sick feeling) and sometimes nausea and vomiting. Death can result from only a few minutes of exposure to higher concentrations or from an hour of exposure to lower levels. Without immediate treatment, you can lose consciousness, have a seizure, enter a coma, and potentially die. Unusually emotional behavior or extreme swings in emotions.If you are exposed to very high levels of carbon monoxide gas in a poorly ventilated room, you can develop: Symptoms vary depending on the concentration of carbon monoxide in the environment, the length of time you are exposed, and your health. Carbon monoxide also can act directly as a poison, interfering with cells' internal chemical reactions. Without enough oxygen, individual cells suffocate and die, especially in vital organs such as the brain and heart. As exposure continues, the gas hijacks more and more hemoglobin molecules, and the blood gradually loses its ability to carry enough oxygen to meet your body's needs. Oxygen can't travel on a hemoglobin molecule that already has carbon monoxide attached to it. Once inhaled, carbon monoxide passes from your lungs into your bloodstream, where it attaches to the hemoglobin molecules that normally carry oxygen. More than one-third of carbon monoxide-related deaths occur when the victim is asleep. Carbon monoxide poisoning can occur in victims of smoke inhalation during a fire. The risk of poisoning is especially high when equipment is used in an enclosed place and ventilation is poor. Carbon monoxide poisoning is a potentially fatal illness that occurs when people breathe in carbon monoxide.Īll sorts of sources can release carbon monoxide, including cars, trucks, small gasoline engines (like lawnmowers), stoves, lanterns, furnaces, grills, gas ranges, water heaters and clothes dryers. Carbon monoxide is a tasteless, colorless, odorless gas found in the fumes of fuels that contain carbon, such as wood, coal and gasoline. ![]()
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