![]() Given the disagreement some of his conclusions have provoked, an index of his references to modern scholars’ works would have helped a lot. Concepts central to Ball’s interpretation of the architecture and some ancient names are listed. The index is sparse, because Ball felt the arrangement of the text made indexing largely unnecessary. The endnotes are sensibly arranged under headers containing the pages to which they refer. Cross-referencing is therefore buttressed by the intuitively simple physical layout of the book. Presentation of data in the central section of the book progresses chronologically and thus, as it turns out, runs roughly from west to east along the Esquiline wing. Copious cross-references between main and ancillary discussions of masonry phases or groups of rooms insure that the reader can easily navigate the complex arguments. Ball is a methodical man, as is apparent in his organization. A sixth chapter offers three rich synthetic essays which reinforce the chronological survey, present comparanda, and discuss the nature of Roman architectural progress, respectively. A second part, comprising chapters two through five, contains the laborious analysis of the masonry, which is the soil in which Ball’s interpretation is planted. A first chapter introduces the reader to the literary sources and the chronology those sources suggest, connecting them with the terminology (‘domus transitoria’, ‘domus aurea’) used both in antiquity and by archeologists today. I, at least, found no arguments in the presentation of evidence that were not carefully and logically worked out. ![]() Ball is aware of the risk of tautology in this method and capably summons practical considerations such as accessibility, lighting, and fragments of ornamentation to clarify difficult passages. ![]() True bonding walls have a continuous concrete core and were certainly poured together as part of a carefully planned scheme, whereas abutting walls represent the adaptation of a new wall to an existing one (how long the earlier wall had been there is another problem, but it had at least cured). Variations such as semibonding walls are possible, when a niche in the “palm” of the older wall has been carved to receive the abutting “fist” of a new wall. Bonding walls are simply modeled by bringing your hands together at a 90-degree angle with your fingers interlocking but not curled around to grasp the backs of the other hand. An abutting wall can be modeled by placing your balled fist against your outstretched palm: your fist is the end of one wall abutting your palm. He combines an empirically deduced principle of uniform building practices within phases with one of careful observation of whether walls abut or bond with one another (he is hardly the first to use these, of course). Even the experts (among whom I cannot be counted) are going to have to go back for a look.īall’s method makes this clear. Ball’s photographs and plans help, but neither they nor a familiarity with the monument are suitable replacements for following the arguments while looking at the original. It is just a simple recognition of the obvious fact that consultation of this book outside of the monument itself requires an act of faith because there is no substitute for the autopsy this book demands. I do not mean to call Ball’s honesty or intelligence into question by using the old jurist’s qualification. Secundum ea quae proponerentur, Ball’s chronological arguments appear secure, and his interpretation of the evidence offers an exciting new view of this most important Neronian monument. Design problems and accidental discoveries while solving them led the architects by a clear evolutionary chain from a fairly pedestrian villa design in a first phase to the astounding Octagonal Suite. Construction proceeded in an orderly way, rather than being interrupted or altered on the fly by a meddling Nero. ![]() In brief, Ball finds that the architects liberally appropriated and exploited pre-existing structures while imposing an overall plan upon them. His careful survey puts him in a position to make authoritative statements about the chronology and extent of the monument’s various phases, and from this he infers the Neronian architects’ methods and goals. Ball has written a minutely detailed survey of the masonry of the Esquiline wing of the Domus Aurea which carries to a new level work and ideas raised in his UVA dissertation and in a lengthy article in a 1994 JRA supplement.
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![]() It could have worked if it was just for a minute or maybe two at a push. Then, at the 17:30 minute mark, after about five or six minutes of janky CG animation, the budget completely runs out and the rest of the episode is a montage of mostly pans across still images, some of which create a roughly coherent visual narrative, but not all (there’s more than one cute girl who appears) a sequence without voice actors or sound effects, accompanied by a piece of music that doesn’t fit well with the images unfolding before us for a painfully long time. It even repeats the same material: once, in a discussion between the king and his sage, and a second time, as Danblf walks through the city and converses with people who tell him the exact same things he just said to the king, but this time, there are visualizations of what they are talking about, namely, the other Elders and their amazing feats. Let me say that again, the most important episode of any anime series was, in this case, the kind of stuff you get in recaps or flashbacks. In other words, this is a filler episode. This was the prequel episode that gets released as an OVA after the series has aired and done well enough to warrant an OVA, but it has to be a prequel because the manga/light novels aren’t far enough along to provide the material for a follow-on or spin-off OVA. The one thing we do know though, is that she is cute, and she knows it. All this is done by a young girl who is of course the great and powerful Danblf rematerialized as a helpless girl who probably has to start leveling up from scratch, but we don’t know because, no sound. Well, I mean, there is some background music, but no sound effects or voices-nothing diegetic or coming from in-world. And then…And then, people! For the final 5 minutes of the episode a silent montage straight out of an isekai slice-of-life (that isn’t this one) plays out. Because, some terrible CG animation later, and after no small amount of grumbling about the boredom of it all, Danblf does indeed wipe out the 10,000 and return home triumphant. *Death Flags!!!!* Amiright? No! Not at all. Sure, there are villainous enemies to be defeated, hordes of monsters to wipe out, and other tests for their courage and strategic skills and sure, all the other heroic Elders are currently occupied with facing off against such challengers but when an army 10,000 strong formed of some new kind of creature with never-before-seen magical mastery turns up, neither the King nor Danblf bat an eye. Turns out the players behind these two characters are friends irl and set about to create exactly such a kingdom as the one they now enjoy. The one bright light of peace and prosperity is the Kingdom of Alcait, ruled by the mellifluous King Solomon and his wise council of Elders, not least among whom is the aged magician Danblf. As a result, there is a modicum, shall we say, of chaos and conflict in this online world. And not just everything, but also anything, as in, anything goes! Both in terms of avatars and world-building. In the VRMMORPG Ark Earth Online, players create everything from scratch. ![]() Join Facebook to connect with Vanessa Vox and others you may know. In the meantime, fans of the chef can donate to help Lomeli during her recovery via a Facebook fundraiser established by Houston Food Finder publisher Phaedra Cook. View the profiles of people named Vanessa Vox. Fortunately, the restaurant’s closure is just temporary for now, and Lomeli plans to reopen the 915 as soon as she’s well enough to work again. Violet Amrita Wiki: Vanessa Vox is a talented American actress and model born and raised in the United States.She is renowned for her exceptional acting skills in videos and web scenes, which have garnered a considerable following in the entertainment industry. Vanessa Lomeli, the chef behind brand new Heights restaurant the 915, has temporarily closed her restaurant while she undergoes treatment for a medical emergency. The restaurant, named for the area code of Lomeli’s hometown of El Paso, featured some of the recipes she was best known for at Habenera. Vanessa Voxx Actress IMDbPro Starmeter See rank Help contribute to IMDb. Violet Amrita Wiki: Vanessa Vox is a talented American actress and model born and raised in the United States. ![]() The medical emergency came just weeks after the chef’s triumphant return to the Houston dining scene with the 915, her ode to El Pasoan cuisine. Three years later, the couple appeared on Food Network reality show “Restaurant Impossible,” where they hashed out everything from interpersonal relationship issues to Downing’s total financial control of the restaurant. The restaurant, originally called Habenera and the Gringo, was sued by Gringo’s Mexican Kitchen in 2017 in a case that was settled out of court. It is not known how she got the substances into the facility where she. Lomeli first gained a following for her red chile enchiladas and creative margaritas at Habanera and the Guero, the Hobby-area restaurant owned by her then-partner Ben Downing. The actress, who used the screen name Olivia Voltaire, is believed to have died from mixing prescription drugs and alcohol. ![]() After she was hospitalized, friends of Lomeli launched a fundraiser to help the chef and her young daughter stay afloat. Vanessa, who feels isolated at her boarding school where she has no real friends and considers Strane’s attention a lifeline, takes a clear meaning from his decision to give her the book: What. Eight years ago, Lomeli received a kidney transplant from her father, and her body recently began rejecting the donated kidney. It’s the latest setback for the chef, who previously ran the kitchen at beloved but embattled Hobby-area restaurant Habanera and the Guero. Vanessa Vox OF 7.50 VanessaxVox Follow VanessaxVox Who do you wanna see me work with in 2022 This media may contain sensitive material. Vanessa Lomeli, the chef behind brand new Heights restaurant the 915, has temporarily closed her restaurant while she undergoes treatment for a medical emergency. Vanessa Vox (Now on Youtube) January the 27th, 2016 / Space Adventure (1'25) Film and Soundscape (c) Vanessa Vox Movie apps: iMovie, Glitch, Funimate, Gravie Music apps: Voice Express, VisPerformer Upload, livestream, and create your own videos, all in HD. ![]() ![]() When Rogers began his career, black comics were still performing using heavy slang and vernacular and could not directly address a white audience. Comedian Timmie Rogers appeared as the emcee at the Shan-Doo Club. Comic actor Don Bexley, best known for his role as Bubba on Sanford and Son, played the bawdy emcee during the amateur contest sequence. She was cast in several notable films and Broadway productions of the 1970s and 1980s, including Francis Ford Coppola's The Cotton Club (1984) and Gardens of Stone (1987).Īfrican American audiences likely recognized a few familiar faces in cameos and bit roles sprinkled throughout Sparkle. McKee benefitted the most from Sparkle as reviewers singled out her vibrant performance, and she became an idol for a generation of African American girls. Levi is portrayed by Dorian Harewood, who went on to a successful career as a character actor in film and television, including Stanley Kubrick's Full Metal Jacket (1987). Stix is played by Philip Michael Thomas, who would become a major television star as Ricardo Tubbs on Miami Vice. Sparkle was her second feature film, preceding her breakthrough performance in Fame by four years. Cara was only 16 when she costarred in Sparkle, but she had already been performing on Broadway and on television for nine years. Sparkle boasts a notable cast of newcomers, who would go on to wider fame, as well as bit players who were veterans of black entertainment circuits from an earlier era. Dwan Smith costars as Delores, who becomes more interested in racial issues and politics than singing, while a teenage Irene Cara plays the title character who is destined to be the biggest star. Lonette McKee stars as Sister Williams, a beautiful, self-assured woman who falls under the sway of a smooth-talking rogue who leads her into drugs. They quickly become a sensation in the local club scene, but the sisters display disparate personalities, creating a stumbling block to fame and fortune. The trio are managed by two young men from the neighborhood, Stix and Levi. In Sparkle, three Harlem sisters-Sister, Delores and Sparkle Williams-form a singing group in dubbed Sister & the Sisters. Along the way, a diva emerges from the group while the others fall prey to the temptations of men and drugs. The essential ingredients for such a tale includes their management by a Svengali-like male, who must contend with clashing egos and a merciless music business. The success stories of these all-female singing groups were told and retold in publicity, biographies and promotional materials until an archetypal tale emerged that seemed to describe the path to success for all of them. But, before Dreamgirls, there was Sparkle, a 1976 musical starring Irene Cara, Lonette McKee and Dwan Smith, which was a precursor and maybe influence on the more well-known play and film.īoth Dreamgirls and Sparkle follow a dramatic arc familiar to a generation who grew up with the actual girl groups of the 1960s, specifically the Supremes. Most would identify this as the plot to the 1981 Broadway musical Dreamgirls and its 2006 film adaptation. As they work their way toward success, they find the road to stardom is paved with heartache, temptations and disappointments. ![]() In the late 1950s, three talented female singers from the inner city form a girl group. ![]() Adding that technology now would not only drive up console prices, but leave those who already own a PS5 without access to that functionality. But of course, Sony removed those elements from the PlayStation 3 after it initially retailed at $300 more than the Xbox 360 in its earlier run of consoles. It’s a method Sony implemented on the PlayStation 2 and early models of the PS3, both of which included CPU architecture from their predecessors to allow backward compatibility with previous models. This incompatibility can cause major performance issues on top of those already caused by trying to simulate the console’s Cell structure.Īn alternative would be to install SPU furniture on the PlayStation 5 motherboard, which essentially means building PS3 hardware into the PS5. But it means that the PlayStation 3, which can read and write 128-byte cache lines can assimilate its own data much faster and more consistently than the PS5 which reads and writes in 64-byte blocks. Splitting the data into blocks – often called lines – makes the size of that memory more manageable. Gabe Newell, speaking to Edge Magazine, branded it “a waste of everybody’s time.” Kazunori Yamauchi, creator of Gran Turismo, recently told TheGamer that the “PS3 was a nightmare” and that “the hardware was so complex and difficult to develop on.” A 2007 doctoral study by Daniele Paolo Scarpazza, Oreste Villa and and Fabrizio Petrini supported this, finding that “software that exploits the Cell's potential requires a development effort significantly greater than traditional platforms.”Ĭache in this context is essentially chunks of memory. Some developers weren’t shy about criticizing Sony’s choices for the PlayStation 3’s architecture back then. “A lot of people see the negatives of it, but if you flip that around, it means the hardware has more to offer.” “We don’t provide the ‘easy to program for’ console,” CEO Kaz Hirai told Official PlayStation Magazine in 2009. ![]() Sony was aware of the issues its console caused developers, though wasn’t especially apologetic about it at the time. Add onto that the PS3’s much higher retail price and the extra year the Xbox 360 enjoyed ahead of its release, and the PS3’s potential wasn’t realized until late in its life-cycle. Simply, re-engineering games for a completely new system unlike any other was a time- and cost-prohibitive process, which meant that the Cell processor wasn’t used to anywhere near its full extent.ĭespite sinking millions into Cell architecture, the complexity of its SPU hardware contributed, in part, to a slow start for the PlayStation 3. Inaba called it at the time “the biggest failure for Platinum so far, the one that really sticks in my mind.” A similar story surrounds the problematic PS3 port of The Orange Box, which Valve handed off to EA rather than tackling it themselves. A failure to utilize the SPUs resulted in terrible performance compared to other platforms. When it came time to port Bayonetta to PlayStation 3, Platinum Games producer Atsushi Inaba described to Edge Magazine how Platinum handed the project off to an in-house team at Sega. ![]() When developing for multiple platforms, developers regularly ignored the complicated SPUs and just used the PPE. We’re all familiar with the time pressures developers face and the prevalent problem of crunch that may arise as a symptom of these time pressures. Developers had to code this handoff themselves, creating a multi-step process that resulted in a steep learning curve for programming on the PlayStation 3. Harnessing the PS3’s potential – back then and in the present day – wasn’t easy in large part because the process described above wasn’t automatic. Sony flirted with the concept in the PlayStation 2, but boosted the power in the PS3 with a floating speed that was forty times faster than its predecessor. Those SPUs could handle parallel mathematical calculations, which made them perfect for intricate physical simulations, like collisions, clothing, and particles. The processor’s setup allowed the central power processing element (PPE) to offload complex code to the extra cores. The PlayStation 3 utilized a unique structure that differed from the relatively simpler Xbox 360 and PC architectures at the time that Sony called "Cell." The PS3 console’s CPU was comparable to the Xbox 360, running at 3.2GHz, but Sony aimed to bolster the CPU’s capabilities by including seven floating co-processors, aka the PS3’s synergistic processing units (SPUs), which were infamously complex for developers. The primary roadblock to proper, official PS3 emulation could be that, well, the console was built differently. ![]() These photographic gems will stay with you, in your mind, forever. Watch them or download them, but never forget them. ![]() And the best sweet pussy pics can be found only in its pages. ![]() There's no need to search for HQ adult porn pics elsewhere, this website is specialized in nothing but free xxx sex galleries. Not to mention the daily added new fuck photos and the updates. No matter the kink or the category, this site will certainly provide awesome cum on pussy content in each of them. The huge amount will dazzle even the most demanding ones. Open the galleries to see tight wet pussy pics. 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