![]() (If you don’t have anything to put into a certain quadrant, it’s a strong signal that you need more user research before proceeding in the design process.) One User vs. The 4 quadrants exist only to push our knowledge about users and to ensure we don’t leave out any important dimension. Do not focus too much on being precise: if an item may fit into multiple quadrants, just pick one. Some of these quadrants may seem ambiguous or overlapping - for example, it may be difficult to distinguish between Thinks and Feels. It is our job as UX professionals to investigate the cause of the conflict and resolve it. ![]() This is when empathy maps become treasure maps that can uncover nuggets of understanding about our user. You will also encounter inconsistencies - for example, seemingly positive actions but negative quotes or emotions coming from the same user. It is natural (and extremely beneficial) to see juxtaposition between quadrants. Worried: they are doing something wrong. ![]() Confused: too many contradictory prices.Ask yourself: what worries the user? What does the user get excited about? How does the user feel about the experience? The Feels quadrant is the user’s emotional state, often represented as an adjective plus a short sentence for context. From the research, what does the user physically do? How does the user go about doing it? The Does quadrant encloses the actions the user takes. “Am I dumb for not understanding this?”. ![]() Try to understand why they are reluctant to share - are they unsure, self-conscious, polite, or afraid to tell others something? However, pay special attention to what users think, but may not be willing to vocalize. Ask yourself (from the qualitative research gathered): what occupies the user’s thoughts? What matters to the user? It is possible to have the same content in both Says and Thinks. The Thinks quadrant captures what the user is thinking throughout the experience. “I don’t understand what to do from here.”.“I am allegiant to Delta because I never have a bad experience.”.Related course: Generating Big Ideas with Design Thinking Ideally, it contains verbatim and direct quotes from research. The Says quadrant contains what the user says out loud in an interview or some other usability study. Empathy maps provide a glance into who a user is as a whole and are not chronological or sequential. Traditional empathy maps are split into 4 quadrants ( Says, Thinks, Does, and Feels), with the user or persona in the middle. This article is a guide to empathy mapping and its uses. It externalizes knowledge about users in order to 1) create a shared understanding of user needs, and 2) aid in decision making. Empathy maps, widely used throughout agile and design communities, are a powerful, fundamental tool for accomplishing both.ĭefinition: An empathy map is a collaborative visualization used to articulate what we know about a particular type of user. However, in order to do it, not only must we deeply understand our users, but we must also help our colleagues understand them and prioritize their needs. The second section considers three more advanced topics: threshold theory, the extension of detection theory, and an examination of Thurstonian scaling procedures.As UX professionals, it is our job to advocate on behalf of the user. It concludes with a detailed analysis of a typical experiment and a discussion of some of the problems which can arise for the potential user of detection theory. Its aim is to enable the reader to be able to understand and compute these measures. ![]() The first part introduces the basic ideas of detection theory and its fundamental measures. Intended for undergraduate students at an introductory level, the book is divided into two sections. Symbols and terminology are kept at a basic level so that the eventual and hoped for transfer to a more advanced text will be accomplished as easily as possible. It assumes knowledge only of elementary algebra and elementary statistics. This book is intended to present the methods of Signal Detection Theory to a person with a basic mathematical background. A Primer of Signal Detection Theory is being reprinted to fill the gap in literature on Signal Detection Theory-a theory that is still important in psychology, hearing, vision, audiology, and related subjects. ![]()
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![]() Related CandiesĬompressed Dextrose, Sour, United States, Nestle, Discontinued They’re still making their way around stores, I found mine at Dylan’s Candy Bar for $3.49 a bag, which is too steep for what is cheap candy, but they should get wider distribution eventually. The flavors are a little different: blue raspberry, grape, orange, lime, lemon and cherry. UPDATE JUNE 2015: Leaf has revived Tart n Tinys in their original format of the uncoated cylinder shape. How successful can a candy be if you can’t find it in the first place? There are still a few online vendors who still have inventory left, so if you’re a fan, get ‘em now! I don’t think I’ve actually bought Tart n Tinys in five years for this reason. Runts have been more available, even in the movie style box. I’ve enjoyed Tart n Tinys since their introduction but rarely buy them simply because I never find them in stores. The marketing on them was never particular strong, they don’t do seasonal editions (no pastel Tart n Tinys for Easter, no red & green for Christmas) so it’s easy to see why people have not responded to them as much as other products like SweeTart, Sprees and Runts. It makes sense that Nestle thinks that the line is redundant (as I found with the head to head comparison between the Chewy Mini SweeTart and the Chewy Tart n Tiny) to products they already produce. ![]() So, you may have noticed that I started this post with, “Goodbye.” This is because Nestle has decided to discontinue both Tart n Tinys and Chewy Tart n Tinys. But I have to admit they were fun to look at, and probably a little easier to sort even in dim lighting conditions. The new candy coated variety were also a little rounded, so they roll. The most interesting part of the candy shell addition is that the grape ones were no longer purple, they’re now blue (but thank goodness they’re not the blue punch flavor of SweeTart). ![]() In the early 1990s Tart n Tinys were reintroduced with a new colorful candy shell (more like mini Spree than mini SweeTart now). Sunline products (SweeTart, Sprees and Bottle Caps) were then branded under the Wonka label as well. Nestle eventually made some changes to the candies, mostly because they had also recently acquired the Sunline brand of SweeTart confections in their takeover of Rowntree (who bought Sunline in 1986). In 1988 Breaker Confections sold the brand to Nestle. The texture always seemed a bit smoother than SweeTart, which had a chunky and gritty texture (which I also appreciate). The original flavors were Cherry, Lemon, Lime, Grape and Orange. The little chalky pellets were fun to sort and stack, simple to share and easy to portion. However loosely tied Tart n Tinys were to Wonka’s imagination, I loved them. ![]() The Wonka line of candies were largely a marketing invention, the only candy in the original line up of confections that was actually mentioned in the book were Everlasting Gobstoppers. The book (called Charlie & the Chocolate Factory by Roald Dahl was published in 1964 and already wildly popular as was James and the Giant Peach which came out in ‘61.) (Nerds are still sold in this format.) They were made by Willy Wonka Candy Company, which was founded by Breaker Confections in 1971 just in advance of the feature film, Willie Wonka & The Chocolate Factory. They were tiny little pellets of tart candy, kind of like SweeTart, only sold in a small cigarette-pack-sized box that dispensed the candies from a little slip-tab at the top. Way back in the day there was a cute little candy called Tart n Tinys. ![]() ![]() ![]() LG C2 42″ OLED TV on B&H – Makes a great client reference display. 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![]() Mmm…creamy, fully loaded mac ’n’ cheese! Who would have thought this decadent dish, speckled with ham and mushrooms, would find itself on a calorie-conscious list? See the complete Orange Chipotle Chicken with Cilantro Rice recipe. Our readers went bananas over this quick chicken dish! And despite ample orange-chipotle flavor, it still keeps calorie and fat counts shockingly low! Orange Chipotle Chicken with Cilantro Rice See the complete Crab Louis Salad recipe.ġ7. See the complete Ahi “Burger” with Wasabi Sauce recipe.ĭon’t let your weight get you crabby! At just 246 calories, this egg- and crab-studded salad is a definite waist-whittler. The wasabi sauce and pickled ginger give it a real sushi sandwich feel. Turn burger night into something new with our low-calorie, seared tuna take. See the complete Sirloin and Peppery Tomato Reduction recipe. Our flavorful reduction is made entirely of pantry staples, so you can whip it together any time to enjoy this 30-minute meal! 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But I would chalk most of that up to it just being a 10 year newer sensor and the RP having outstanding AF. Rp in crop mode seems better than shots I have from my old 10MP APS-C cameras. To me, this means the RP in crop mode is the equivalent of at least a 16mp APS-C. But, the size of the megapixels occupying that space are still full frame sized. So if only 10 are visible through the crop sensor lens, the size and shape of the visible space is equal to that of an APS-C sensor. ![]() ![]() The results will be the same.Ģ6mp on a crop sensor is the same number of megapixels as 26mm on a FF. If you have a FF lens, you can compare crop mode to just taking a regular shot and cropping it yourself. They are the same size in either mode, you are just getting 60% fewer when you crop to 1.6x size. The pixels are hardware on the sensor and don't change sizes. I don't know what you mean by FF or APS-C pixels. So, again, It's a FF shot that has been cropped down to APS-C sized. Canon forces crop mode for EFS unfortunately. So you can get a bigger than APS-C image and resolution by cropping yourself in post. Some crop lenses will give FF coverage at certain focal lengths, or may cover a 1.2x or 1.3x crop. It would be nice if Canon gave us more control like Sony does. As you can see from that article, with third party lenses, the body doesn't always know it is a crop lens and you may have to turn it on manually or crop in post. So Canon applies a 1.6x crop when using Canon EF-S lenses and just leaves you with the middle 10MP out of the 26MP to make sure you end up with a normal image. ![]() This article has some examples of what it looks like without the crop mode applied: But since a crop lens won't cover the sensor all the way, that shot would look like a circle with black frame around. The camera just takes a regular 26MP shot. ![]() ![]() Pingback: Colossal Cave review – extreme retro gaming – Europe News Pingback: Colossal Cave review – extreme retro gaming – Throne News Pingback: Colossal Cave review – extreme retro gaming – News Ment ![]() Pingback: Colossal Cave review – extreme retro gaming – Game Guest Post Site Pingback: Colossal Cave review – extreme retro gaming - TECHTELEGRAPH Ħ5 thoughts on “ Colossal Cave Adventure Source Code” For an analysis, see part 2 of this article, Exploring Colossal Cave in Code. The archive includes three more files from late March, showing some of the first changes Woods made in both the data and the code. According to Woods, these files represent Crowther’s original work. The two oldest files (a pair representing the data and the code) are dated March 11, 1977. Woods chose five files from that backup tape, which he identified as components of Crowther’s original FORTRAN 4 source code, and made them available for scholarly study (see Crowther and Woods, “Adventure” ). student, now an employee of the Internet Archive) and Martin Frost (systems manager of Stanford’s CS department) kindly gave Don Woods web-based access to a tape backup of his Stanford student account. ![]() In response to my request, Les Earnest ( executive officer, 1965-1980), Bruce Baumgart (former Stanford Ph.D. “ Somewhere Nearby is Colossal Cave: Examining Will Crowther’s Original “Adventure” in Code and in Kentucky” Digital Humanities Quarterly: 1 (2007). As Cygnus Entertainment, Roberta and Ken said they’re “ready to create more amazing projects like the seminal classics that put them on the map,” like King’s Quest, Space Quest, and Phantasmagoria.From Jerz, Dennis G. They’re known as pioneers in the industry Roberta, in particular, is renowned for the King’s Quest adventure game. Roberta and Ken founded Sierra On-Line in 1979. Activision still owns the rights to Roberta and Ken’s Sierra On-Line games. King’s Quest was released in five chapters, from 2015 to 2016. “We’ve built this world with all of the love and wonder of the first game, and hope the next generation of gamers can experience the same magical touch it had on our lives.”īoth Roberta and Ken were given the Industry Icon award at The Game Awards in 2014, alongside an announcement that Sierra On-Line’s King’s Quest would get a remake from developer The Odd Gentleman and published by Activision, which revived the Sierra label in 2014. “The original Colossal Cave Adventure, a 2019 Video Game Hall of Fame recipient, will forever hold a special place in the hearts of Ken and I,” Roberta said in a news release. Roberta and Ken Williams are publishing and leading development on the the game as Cyngus Entertainment, named after the Williams’ boat, where they developed much of the game, according to an interview with Vice. Colossal Cave was previously announced for a fall 2022 release. PlayStation 4 and Xbox One versions will be released in the first quarter of 2023. Colossal Cave will cost $39.99 on all platforms. 19 on Mac, Meta Quest 2, Nintendo Switch, PlayStation 5, Xbox Series X, and Windows PC. ![]() Sierra On-Line co-founders Roberta and Ken Williams announced the release date for Colossal Cave, their reimagining of the classic 1976 text adventure Colossal Cave Adventure, during The Game Awards 2022 on Thursday.Ĭolossal Cave is described by the developers as a “3D interpretation of the original text adventure.” It’ll be released on Jan. ![]() ![]() As a film, Fear and Desire doesn’t live up to its experimental ambitions as a “film exercise,” it’s a showcase for a director who’s got an eye and is quickly developing everything else.- Jacob Oller Grasping hands and spilled stew create some of the most memorable images, but that the images are what remain most memorable from the movie is itself a kind of indicator. Representative of violence and desire and how those two always seem to be neighbors in men, the look is a brief but telling stylistic choice in a scene filled with pet themes and physicalizations of these ideas. And Kubrick’s faces are still at the forefront: A mid-movie freakout between Mazursky’s private and a local woman he’s captured is both the film’s best scene and perhaps the director’s first example of that disconcerting straight-at-the-camera look that-thanks to A Clockwork Orange, The Shining, Fear and Desire’s superior foil, Full Metal Jacket, and others-has become known as the Kubrick Stare. His no-frills blue collar approach-contrasted against the simpering mania of Paul Mazursky (the Bob & Carol & Ted & Alice filmmaker making his acting debut here) and near comic-strip sincerity of Kenneth Harp-encourage us to read some of the intentional ambiguity of the film’s emotions on his face. Frank Silvera, who would appear in Kubrick’s much better follow-up Killer’s Kiss, finds the most humanity in the quartet of soldiers crash-landed behind enemy lines by going grimier and gruffer than the rest. The purple prose of future Pulitzer-winner Howard Sackler fills both dialogue and voiceover with strained metaphors and abstract intellectualizing, and the actors, by and large, respond to the overwritten material by overacting it. ![]() That’s not to say there’s nothing to like in the hour-long war film, a meandering and tepid critique of the ahem “police action” in Korea, but that those things to like are immature interests engaged with by a filmmaker still learning the craft. Jeremy MathewsĪ 24-year-old Stanley Kubrick’s feature debut, which he later described as “a bumbling amateur film exercise,” Fear and Desire proves the filmmaker a clear-eyed judge of his own work. Telling the story of a husband who strays and then tries to redeem himself, Murnau’s camera flies over country fields, gets tangled in the bustle of the city and desperately looms over a lake in a storm, while his actors, George O’Brien and Janet Gaynor, radiate with sincerity. Murnau to Hollywood, where he and his cameramen used all the resources at their disposal to create some of the most stunning visuals ever put on celluloid. Sunrise was born of that ambition, as Fox brought German genius F.W. Or visit all our Paste Movie Guides.ĭuring the last few years of the 1920s, the excitement was palpable as brilliant filmmakers pushed to unlock the medium’s full potential. You can also check out our guides to the best movies on Netflix, Amazon Prime, Max, Hulu, On Demand, at Redbox and in theaters. This month saw a big shift in the movies available to rent, with some of the newer films represented on our Best of 2022 list coming up. We’ve divided these movies into two sections: the 25 best free movies on YouTube and the 25 best new movies on YouTube you’ll have to pay for-all updated every month. This treasure trove includes a wide range of classics that are free because they’ve entered the public domain, along with a selection of hidden gems among YouTube’s official selection of free movies (you have to really dig to find them among a lot of straight-to-DVD titles and knock-offs). Real deal, 100% free (and good) movies are out there alongside viral stars and adorable animal montages. Really! And we’re not talking weirdly uploaded, grainy, sketchy films. ![]() But the video streaming service also has a great, if hard-to-find, selection of legal free movies. A special mention for Rocky III, though, which marks Mr T’s film debut and sees Hulk Hogan play a character named Thunderlips.YouTube has as deep a selection of new movies as anyone, as long as you’re willing to pay to stream. 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There is still a way out of this situation, for this, you need a video conversion program, which we will talk about. Crack + Torrent Key Latest Versionīigasoft Total Video Converter Crack It often happens that the device does not support a certain video format. ![]() She contends that in the discourse of wider debates on international immigration, words and phrases such as ‘“swamping”, “floods”, “tides” and “carriers of disease” are used to describe English incomers to Wales’s Welsh-speaking heartlands. She argues that these hostilities have partly led to the racialization of the divide between Wales and England, and argues that the language of debates surrounding multiculturalism, race and immigration is commonly used when discussing Anglo-Welsh relations. The first tier Williams identifies is that of Wales’s language divide between Welsh and English speakers in Wales, which seems to be closely associated with the second tier, that of hostility between the Welsh and English nations. Drawing on these tensions, Williams offers a three-tiered explanation of how, in her opinion, Welsh / English animosities have become the ‘real issue of Welsh racism’, obscuring the concerns of, or discrimination faced by, racial and ethnic minorities. It could be argued that these tensions came to a head when Gwynedd Plaid Cymru councillor Seimon Glyn was branded a racist for suggesting that the English language and culture were alien to this area of Wales, and that young people from local Welsh-speaking communities should be given priority over English incomers when it came to buying houses in a place where language and culture are under threat. Much of Williams’s most acknowledged and contested work emerges out of language tensions that arose in the early 2000s concerning English in-migration to Welsh-speaking communities in north Wales. Charlotte Williams’s sociological work stands at the intersection between these concerns, as she argues that the prominence given to issues of language and the issue of English in-migration to Wales means that more general issues of race, ethnicity and immigration are ignored. This debate has foregrounded issues pertaining to diversity more broadly, such as the participation or visibility of black or ethnic minority people in public life, as well as focusing on Wales-specific issues, such as English-Welsh relations, Wales’s status within the United Kingdom, and Welsh language rights and relationships between Welsh and English speakers. Locating Williams’s literary work amongst the work of other writers of contemporary fiction from Wales who attempt to re-imagine Wales’s relationship with its minorities, with England and with other countries worldwide, I hope to suggest that the multicultural Wales of contemporary fiction is far more complex than sociological studies would suggest, and advocates a more creative approach to expressing and promoting Welsh diversity.įor the past fifteen years, Charlotte Williams has been one of the foremost figures in the debate about Welsh multiculturalism. Sugar and Slate explores the binary relationships upon which Williams’s own identity are based, as well as that of Wales, and finds them inadequate. I suggest, too, that Sugar and Slate can also be read as an attempt to re-write the Welsh industrial novel in order to create a space for the black community in Wales’s past, examining Wales through its international links, as well as through its binary relationship with England. This hybrid text consists of prose, poems and letters, and echoes the slave trade through its movement between Wales, Africa and Guyana, as it teases out Wales’s own complex victim/oppressor status within the British Empire. Sugar and Slate is the site of a nuanced exploration of Williams’s own complex identity as an individual of mixed race and heritage in Wales. Her autobiographical novel, Sugar and Slate (2002), however, was more warmly received, and won Wales Book of the Year in 2003. Some of her claims have been widely discussed and have been met with criticism, particularly by campaigners and academics working in the field of Welsh language rights. Her widely-published, often collaborative research has opened up a space for discussion about multicultural Wales, obliterating the idea that the nation is wholly tolerant of ethnic diversity and suggesting that prominent ‘bicultural’ tensions between Welsh and English speakers, and between the Welsh and the English, arguably exclude minorities. Welsh academic and author Charlotte Williams has done much in recent years to inscribe the black voice onto the literary and cultural map of Wales. ![]() With news that Professor Charlotte Williams is to be appointed the head of a working group to improve the teaching of BAME history in schools in Wales, Wales Arts Review republishes from our archive this 2014 essay by Dr Lisa Sheppard on the importance of Williams’s work to a multicultural understanding of Wales’s past, present and future, focussing on her 2003 Wales Book of the Year-winning autobiographical ‘novel’, Sugar and Slate (2002, Planet Books). ![]() |
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