![]() SRP Core: Added: Added callbacks when RenderPipeline is created or disposed. NET Standard 2.1).ĭocumentation: Added initial User Manual docs for visionOS.Įditor: The audio mute button in the game view toolbar uses less time per frame.īuild Pipeline: Added: Added "Dedicated Server optimizations" option that strips all shaders from Dedicated Server builds.īuild Pipeline: Added: New signature for BuildPipeline.BuildAssetBundles. Universal RP: Performance degradation when comparing Android Quest 2 builds across 2020.xĪnimation: Improved performance of AnimatorOverrideController.ApplyOverrides().īurst: Added ability to support hashing against different target frameworks.īurst: Added support for default interface methods.īurst: Added support for string interpolation in exception messages.īurst: Added support for Math.Clamp (this API is available when Api Compatibility Level is set to. Universal RP: Rendering stops and an “ArgumentNullException” error appears when disabling Camera’s “Dynamic Resolution” setting UI Toolkit Framework: "ArgumentNullException" error in the Console when selecting certain ScriptableObjects and entering Play Mode Serialization: Crash on SerializedProperty_CUSTOM_GetStringValueInternal when renaming a ScriptableObject Asset ![]() Serialization: Crash and or slow update when List items are reordered in the Inspector Window OpenGL: Scene View has a red texture overlay when the project is using URP and OpenGLCore Graphics API Input: The device selection menu does not respond to mouse clicks when trying to add a device in a Control Scheme ![]() HD RP: ArgumentException errors are thrown when selecting a Lens Flare (SRP) asset Graphics Device Features: Severe performance degradation in Play Mode when using multiple Cameras with “Direct3D12”, “OpenGLCore”, and “OpenGLES3” Graphics APIs in URP & HDRP Addressable Assets: The released assets are not unloaded when Resources.UnloadUnusedAssets is calledĪsset Importers: OnImportAsset leaks 5GB of memoryĬulling: Player freezes on "Unit圜lassic::Baselib_SystemFutex_Wait" or silently crashes
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(“My creation was out long before he started his stuff,” Featherstone says.)Įven Waters, who these days maintains that plastic lawn flamingos should be kept inside, “like pornography,” hasn’t hardened his heart entirely to the creatures. “You’ve got to have a sense of humor.” As for Waters’ movie, the Featherstones haven’t seen it, and seem to regard it as a bit of a knockoff. In their yard near Leominster, Nancy and Don Featherstone typically tend a flock of 57 (a nod to the creation year) that neighborhood college students feel compelled to thin. “People like them in a way that’s not that original anymore.” Waters got tired of it and gradually gave away his flamingo collection. The bird became a sort of plastic punch line, and, at worst, a way of hinting at one’s own good taste by reveling in the bad taste of others. They furnished colorful substitutes for croquet wickets and clever themes for charity galas. And then, of course, Waters’ movie came out.īy the mid-1980s, the flamingos were transitioning from a working-class accessory to an elaborate upper-class inside joke. As early as the 1960s, pop artists including Andy Warhol and Claes Oldenburg had begun elevating the low brow and embracing mass culture. Sears eventually dropped the tchotchkes from its catalog.īut then, phoenixlike, the flamingo rose from its ashes (or rather, from its pool of molten plastic: As demonstrated at the finale of Waters’ film, flamingos don’t burn, they melt). Cast in flaming pink polyethylene, the flamingo became an emblem of what Nancy delicately calls the “T-word”-tackiness. Twenty-somethings of the Woodstock era romanticized nature and scorned plastics (à la The Graduate). ![]() “A woman could pick up a flamingo at the store and come home with a piece of tropical elegance under her arm to change her humdrum house.” Also, “people just thought it was pretty,” adds Featherstone’s wife, Nancy. “You had to mark your house somehow,” Featherstone says. Units in new subdivisions sometimes looked virtually identical. It took about two weeks to model both halves of the bird, brought into the third dimension by then-revolutionary injection-mold technology.Ī flamingo-friendly trend was the sameness of post-World War II construction. No live models presented themselves, so he unearthed a National Geographic photo spread. At a nearby art school, sculptor Don Featherstone was hired by the plastics company Union Products, where his second assignment was to sculpt a pink flamingo. The real plastic flamingo is in a sense extinct, Waters says: “You can’t have anything that innocent anymore.”įirst designed in 1957, the fake birds are natives not of Florida but of Leominster, Massachusetts, which bills itself as the Plastics Capital of the World. I have tried.”) For another, the lawn sculptures have become “loaded objects,” classist tools of the well-to-do mocking the taste of the less fortunate. (“You can’t just mosey into a pit of pink flamingos. For one thing, he learned during an ill-fated Floridian photo shoot that he doesn’t like real birds, and they don’t like him. “My movie wrecked that.” Forty years later, the sculptures have become unlikely fixtures of a certain kind of high-end sensibility, a shorthand for tongue-in-cheek tackiness.īut, for his part, Waters says he has completely OD’d on the flamingos. “The only people who had them had them for real, without irony,” Waters says. ![]() “To this day, I’m convinced that people think it’s a movie about Florida.” Waters enjoyed the plastic knickknack’s earnest air: Though his own stylish mom might have disapproved, the day-glo wading birds were, back then, a straightforward attempt at working-class neighborhood beautification. “The reason I called it ‘Pink Flamingos’ was because the movie was so outrageous that we wanted to have a very normal title that wasn’t exploitative,” Waters says. The movie has almost nothing to do with the tropical fowl that stand sentinel during the opening credits: The plot mostly concerns the exertions of a brazen and voluptuous drag queen intent on preserving her status as “the filthiest person alive.” In 1972, Waters released the film Pink Flamingos, which was called both an abomination and an instant classic. “I don’t remember ever seeing a pink flamingo where I grew up,” the filmmaker muses. One house down the street had a fake wishing well and that was painful enough. In their buttoned-up Maryland suburb, lawn ornaments of any kind, let alone plastic pink flamingos, were anathema. His mother, the president of a local garden club, cultivated burgeoning flowerbeds and precise hedges. John Waters’ childhood yard was an exercise in good taste. ![]() Usually the kattam is in white silk thread, contrasting beautifully with the deep hues of the body and making the sari all the more appealing. The tiny white squares of the muthu kattam resemble pearls, providing an additional texture to the design which is stunning. Tamarind pulp is the basic ingredient for several South Indian delicacies like sambar, rasam and vatha kuzhambu. The seeds are used while playing “ pallankuzhi’, which is a famous traditional board game in Tamil Nadu. Interestingly, the tamarind and its seeds play a role in our everyday lives, rooted in South Indian culture. With checks in various combinations of colours, this sari, traditional to Tamil Nadu, has a distinct identity. The two-toned sari with checks the size of tamarind seeds ( puliyam kottai) – about an inch or less in size – patterned all over the body has an enduring charm. The checks are so delicate and fine that their beauty is visible only when the sari is draped. The Kasa-Kasa checks resemble tiny poppy seeds ( kasa-kasa in Tamil). ![]() Yet everyone associates this name with the super hit movie. If you watch the movie, you might notice that neither of the leading heroines (Saroja Devi and Sowcar Janaki) actually wears this particular design in the film. ![]() This design became popular in 1961 when a movie by the same name was released with the famous actor duo Sivaji Ganesan and Saroja Devi. Translating to “milk and fruit” checks, the traditional palum pazhamum combination is woven in the auspicious colours of red, yellow and green. In this edition of Varna Sutra, we take a look at the varied expressions of kattam and vari in the kanjivaram which have withstood the test of time. The weavers of kanjivaram saris give shape to various sizes of checks in yards of fine silk fabric. This geometry, which lends itself to the delightful play of colour, highlights the bold drama of the queen of silks. When the width of a kanjivaram is divided into two-forming a perfect half-the layout is referred to as arai pagam. A perfect muppagam is created when the sari’s width is divided into three equal parts, with the upper and lower sections forming contrast borders. The ways in which a kanjivaram is divided into its body, borders and pallu emphasise the theatrical geometry of the kanjivaram. The long rectangular form of the sari has always been clearly divided into three distinct parts – the body, the border and the pallu (or munthanai) with a distinct relationship between these three elements. The same symbol is woven into a pattern made for ritual clothes like telia rumal and saris worn by women. It is also the base of any architectural structure. The symbol created by astrologers as they draw an astrological chart is a reflection of this form as well. It is this grid which is drawn as “ padi kolam” everyday by women in the households of South India, adorning the front of the main door to one’s home. It is based on multiples of crosses, representing four directions and transforms into a magical grid. Kattam means a defined space, which is enclosed, and has become associated with a sacred space. Antar Anga (meaning within the body), focuses on these simple yet stunning designs in this weave. In kanjivarams, the geometrical foundation of the layout and the mathematical precision in arranging the colours is the differentiating factor. The Kattam Vari gives way to a million combinations, as a result of using different yarns and zari in both the warp and weft of the sari. The simple concept of checks and stripes has been transformed by weavers in unique ways, infusing striking colours and flavours into the bold geometry of the drape. The result is a powerful geometric visual and emotive force of expression. The weavers of Tamil Nadu possess a skillful mastery over the weaving of checks and stripes. In this edition of Varna Sutra we look at the patterns that make up the body of the sari, focusing on the kattam and vari (checks and stripes). ![]() : Saved core options file to "/opt/retropie/configs/all/retroarch-core-options. : Content ran for a total of: 00 hours, 00 minutes, 00 seconds. : Hardware rendering context initialization failed. : Failed to create HW render FBO #0, error: 0x8cd6. : Max texture size: 2048 px, renderbuffer size: 2048 px. : Vendor: Broadcom, Renderer: VideoCore IV HW. : Using configured "gl" driver for GL HW render. : Using HW render, OpenGL driver forced. shell/libretro/libretro.cpp:2014 N: retro_get_system_av_info: Res=480 core/hw/mem/_vmem.cpp:483 N: Info: nvmem is enabled, with addr space of size 512MB : GET_PREFERRED_HW_RENDER - Context callback set to RETRO_HW_CONTEXT_OPENGL. : GET_PREFERRED_HW_RENDER, video driver name: gl. : SYSTEM_DIRECTORY: "/home/pi/RetroPie/BIOS". shell/libretro/libretro.cpp:1689 N: retro_load_game: /home/pi/RetroPie/roms/dreamcast/Daytona USA v1.004 (2001)(Hasbro - Sega)(US).chd shell/libretro/libretro.cpp:297 N: retro_init ![]() : Redirecting save state to "/home/pi/RetroPie/roms/dreamcast/Daytona USA v1.004 (2001)(Hasbro - Sega)(US).state". : Redirecting save file to "/home/pi/RetroPie/roms/dreamcast/Daytona USA v1.004 (2001)(Hasbro - Sega)(US).srm". : Remap directory: "/opt/retropie/configs/dreamcast/". : RETRO_ENVIRONMENT_SET_CORE_OPTIONS_INTL. : No game-specific overrides found at "/home/pi/.config/retroarch/config/Flycast/Daytona USA v1.004 (2001)(Hasbro - Sega)(US).cfg". Place the bios files (zipped) in the RetroArch\system\dc\ folder. Just make sure the bioses are fairly recent and naomi.zip contains the romfiles listed in neil9000's screenshot. : No content-dir-specific overrides found at "/home/pi/.config/retroarch/config/Flycast/dreamcast.cfg". Like neil9000 mentioned, the easiest way to find them is in a (recent) Mame romset. : No core-specific overrides found at "/home/pi/.config/retroarch/config/Flycast/Flycast.cfg". : Loading dynamic libretro core from: "/opt/retropie/libretrocores/lr-flycast/flycast_libretro.so" I can't even read text.Using latest build from retroarch and flycast, bios in correct folder.Įxecuting: /opt/retropie/emulators/retroarch/bin/retroarch -L /opt/retropie/libretrocores/lr-flycast/flycast_libretro.so Load Core > Select Core), the Core name appears in the bottom left of the RetroArch GUI to indicate it's active. For troubleshooting purposes, I flipped over to the RetroArch GUI to get a bit more verbose feedback of what's going on. Dreamcast, on the other hand, in ES just fades to black like it's going to launch, then fades back to the ES interface. SNES/Genesis/NES/GBA, they work just fine. I've got the dc_flash.bin and dc_boot.bin sitting in a "dc" subdirectory within project_eris/opt/retroarch/system/ (where all my other BIOS are) DreamcastEmulation PCRetroarch RetroarchDreamcastCore FlycastRetroarch DreamcastFlycastDreamcast emulation with Flycast within Retroarch is a wonderful. I'm using EmulationStation for the frontend for everything except PSX games. This specific scenario doesn't seem to be discussed on any forum, so I am coming here. u/Newbornfromhell's 20 in 1 Theme Pack for Autobleem, rehosted by /u/jmwilkes76! Step-by-step guide for AutoBleem, BleemSync, & RetroBoot r/GameGearMicro Useful Links & Resources Before asking if a USB device is compatible, please check the spreadsheets below (under 'Useful Links' in the sidebar).Respect each other and obey reddiquette.Though widely available, do not post the encryption keys used on the console Discussion of hacking/modding the system IS allowed.No linking, discussion or asking for links to actual ROMS, ROM-sharing websites, or other copyright-infringing websites.We're a subreddit dedicated to discussing everything related the PlayStation Classic. |
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