#External Data Locations

[rajaniesh]

Unity Catalog: Unlocking Powerful Advanced Data Control in Databricks

Harness the power of Unity Catalog within Databricks and elevate your data governance to new heights. Our latest blog post, "Unity Catalog: Unlocking Advanced Data Control in Databricks," delves into the cutting-edge features

[lolli-popples]

bot...

bott smajor...

(Roscot???)

Anyway- the thought behind this was 'What if Gem and the Scotts didn't refer to Impulse being named Scott and instead there were just multiple copies of Scott?' And then it spiraled into a "Scott is a mass-produced assistant robot AU" that I needed to make something for.

((transcript of the text is under the cut))

Built-in LED mask synched with its speech and the surrounding mood. When service is required, the LED’s will change colour depending on urgency.

The control panel, cable ports, power-core access, and serial number are located centrally. 

Each arm comes with two extra attachments, so you can customize your unit based on what functions it will perform!

This space can be filled with a variety of machines, and is selected when ordering. Options include an oven, washing machine, or x-ray machine! (Changes to the primary appliance can   be done for an additional fee)

SMAJORs have great co and cross-compatibility! They can wirelessly connect to and share data with other units and external machinery. They are especially useful for monitoring security and medical equipment!

Need storage? No problem! The units have spacious storage compartments located in the thighs, hips, and upper arms. Your unit will never be without what it needs!

In addition to omni-directional wheels, the units also have convertible feet for walking up stairs or on rough terrain.

[eqt-95]

A double whammy? I hope you don't mind, but I think you're up to it... ❤️💜

Lena was a woman of science, and anyone in that industry could tell you that external factors could interrupt normal behavior. Like heat. 

It was summertime, and Lena did not do well in the heat. Her skin would burn, she’d melt with discomfort, and her brain would get muggier than the humidity. Sure, National City's heat was contributing, but it was nothing on the exposed arms and glimpses of midriff and polished abs her very best friend’s outfit had on display. 

Lena stood with her popsicle melting under the summer sun and pretended not to stare like she was the thirstiest lesbian on the planet. Meanwhile, Kara debated between the keylime or the berry cream popsicle from the very patient vendor with Ruby and Esme weighing their own very serious choices.

“Careful, someone might catch you gawking,” Sam grinned, taking a swipe across her own raspberry-lemonade treat.

“I’m not gawking. I was… just…”

“Admiring? Observing? Panting?” Sam offered.

“What’d you get?” she continued, not waiting for Lena’s reply before crunching into the strawberry basil popsicle in Lena’s hand.

“Hey!” was her lame, muggy-brained response. A pout came next as she looked at the Sam-shaped teeth marks in her popsicle.

“Yum,” Sam mocked, chomping down on the icy treat and shooting Lena a mischievous smirk and an antagonistic wag of her own, unmarred popsicle. 

Lena would blame it on her sufficiently over-baked patience later, but for the moment, a surge of irrational competitiveness overpowered normal social behavior which was why, without warning, her hand extended to grip Sam’s forearm and her mouth plunged downward, wrapping her lips fully around Sam’s popsicle and slurping upward.

Revenge was achieved. The world was balanced.  Sam looked mutinous. Lena grinned, wiping a small dribble from her chin. Esme giggled from the popsicle cart. Then: “Aunt Kara is eating wood!”

Lena turned her attention to the trio. Ruby was smiling ludicrously while happily licking away at her orange treat. Esme had her little hands clutched around a purple one laughing with unhinged delight. And then there was Kara. Kara who was negotiating three and a half popsicles. Half because Kara’s mouth was clearly full. And chewing. And crunching - gnawing. And looking red faced. And uncomfortable. And like she might take flight any second.

“Kara?” Lena managed, ignoring the suggestive elbow from Sam. “Are you… are you eating the stick?”

Kara immediately shook her head; eyes watering, shifting awkwardly. Then, slowly, nodded when Lena’s brow arched in suspicion.

“You know you’re not supposed to do that, right?” Ruby inserted, casually twirling her own.

And Kara simply nodded again.

—

Lena was a woman of science, and anyone in that industry could tell you about how any hypothesis was established through extensive observation.

It was through regular observation that Lena knew all of Kara’s quirks and habits. It was why Lena was quick to notice a new habit appear. Kara squirmed. She squirmed and blushed and stammered more often than usual. 

So Lena pushed the limits, checking in when Kara’s new traits showed up and, perhaps Lena was putting a little bit too much hope into it, but there seemed to be a correlation with, well, Lena.

But she needed more data. She was a woman of science after all, and anyone in that industry could tell you about the months and years it took to observe, test, and bring to market a new product.

That was where a range of experiments came in: 

Experiment no. 1: Weekly Brunch

Constant: location (Noonan’s), time, day, and table

Variable: Lena wore a low cut dress

Results: Kara dripped egg yolk onto her pants, syrup onto the table, and dribbled orange juice down her chin and onto her shirt

Experiment no. 2: Compromising Situation #1, the elevator

Constant: location (L-Corp private lift), floor change

Variable: an IT cart was ‘accidentally’ parked in the cab, taking up 95% of the space and requiring Lena to press into Kara for the full 63-floor ride

Results: Kara’s work laptop screen was crushed between her fingers

Experiment no. 3: Game night

Constant: location (Alex + Kelly’s), time, day, company, food

Variable: wine; more specifically, wine location: top shelf, hard to reach without a little black ink revealed on Lena’s back.

Results: Alex called Kara out for floating

Experiment no. 4: Compromising Situation #2, Al’s

Constant: location (Al’s), time, day, and company

Variable: their usual table was ‘missing’ one chair, leaving a musical chair situation until Lena simply sat in Kara’s lap

Results: Kara didn’t speak the entire night

Experiment no. 5: Movie night

Constant: location (Lena’s apartment), time, day, company

Variable: chocolate covered strawberries

Results: invalid

Note: experiment considered an outlier and to be noted in future studies. Before Lena could follow through with her protocol, Kara lifted a strawberry to Lena’s lips who, taken aback, bit into the strawberry. Kara replied ‘good girl’, popped the rest into her own mouth, and Lena didn’t speak for the rest of the night

Experiment no. 6: Lunch date

Constant: location (L-Corp), food, time, company

Variable: Lena ordered the greasiest double-patty available

Results: 

The experiment wasn’t going well, and even Lena Luthor’s patience had a limit for inconsistent data. That data was currently slurping her straw through the final dredges of an extra large milkshake from Big Belly Burger. That limit was when Kara Danvers stopped squirming and blushing and stuttering over Lena’s sultry, albeit ineffective, attempts at making a juicy burger look sexy.

The limit was crossed when, unaware of Lena’s greasy chin and flexing fingers and soft moan, Kara went and flipped the tables by turning Lena's anatomy into goop. How? It started when Kara dragged a finger over the cup’s inner wall and licked it clean with a demeanor that was making a different sort of mess. 

Another set of underwear ruined by a Kryptonian. And not even in the way Lena dreamed it.

It was when Kara reached a second finger into the cup that Lena’s patience let out a small whimper which years of practice covered up with a tiny cough.

“Darling,” she choked, throat tighter than the forgotten straw on the coffee table. She stretched her lips into a smile and crossed her legs. Always crossed her legs.

“Hm?” Kara asked, two vanilla-covered fingers deep inside her mouth, tongue swirling with the practice of

“I think you've sufficiently polished your milkshake.”

And Kara, blessed Kara, stared longingly at the empty cup like a puppy who'd just been abandoned on a farm. 

And Lena, cursed Lena, only then noticed the dribbles of milkshake left behind of Kara's lips and chin and now her tongue was-

“Right,” Lena said with a finality that included slapping her hands on her thighs, exhaling shakily, and standing with hopes that Kara couldn't hear anything out of the ordinary on her walk back to a desk of libido-killing work. 

“Hey Lena?” Kara asked, and when Lena turned around, Kara was standing. Close. Like, directly-in-front-of-her close. Like, Lena-could-have-wavered-an-inch-and-collided-with-her close. 

“K-Kara, what-?” she asked before taking a step back and pressing into her desk.

“You’ve got a little something-” Kara began, staring intently at Lena’s mouth.

“I-I do? Where-” Lena stammered. She lifted a hand to wipe at her mouth, only to feel it captured by a strong, warm, steady Kryptonian hand. 

“I got it,” Kara offered instead, and before Lena could process air or space or time, Kara’s lips were on hers. They were on hers and sending shockwaves of surprise and confusion and arousal and - to hell with thinking. Instinct won out, and she returned the kiss, letting out the soft whimper she’d always concealed and leaned into the softness of Kara’s lips, and gave access when her tongue trailed along Lena’s lower lip.

“I don’t think you can call these outliers anymore,” Kara smirked minutes later.

And Lena, too breathless and stunned to play calm, cool, and collected, absolutely folded: “How did you-?”

“Sam,” Kara said simply before interrupting Lena’s outrage with another kiss.

“Well, you know what they say,” Lena offered, still breathless but less stunned, “twice is just a coincidence.”

“Care to make it a pattern then?”

“Absolutely.”

Lena was a woman of science, after all.

[vintage-tech]

useful information: How to get a USB Blu-Ray player to work on your computer

Not a post about vintage technology, just an explanation of what you think might be simple to do but isn't: There are Blu-Ray players that plug into your computer by USB, and you discover that just plugging it in doesn't make it work* in the same manner that CD-RWs or DVD-RWs are automatically recognised and function. You will see "BR Drive" in My Computer and the name of whatever movie you have inserted, but that's as far as you're able to go.

*There is software you can buy to make a Blu-Ray (internal or external) function, sure, and if an internal came with your computer it's likely already installed -- but if you're like me you don't have that software, you're cheap and won't pay for software, and you want to use what you have installed already or find free solutions.

Looking in the Blu-Ray drive's package, there's not a lot of info about what you're supposed to do. The above no-name Blu-Ray player cost $40 from a popular website; name-brand ones can set you back $120 or so. Looking around online for those instructions, I never saw the whole set of directions in one place, I had to cobble them together from 2 or 3 sites. And so here I share that list. To keep out of trouble, I'm not linking any files -- Google will help you.

Get VLC, the free video player available for pretty much any operating system. Thing is, it doesn't come with the internals to make it work with Blu-Ray even if when you go to the Play Media menu there is a radio button for selecting Blu-Ray.

Get MakeMKV, a decoder for reading Blu-Ray disks. This had been totally free during the beta testing period but it's come out and has a month or two trial period you can work in.

Get Java if you don't already have it. Reason for this is, the menu systems on Blu-Ray disks uses this... technically it's not required, however it does mean you don't have options such as special features, language and sound changes, or scene selection if you don't have Java installed; insert a disk, it can only play the movie.

Get the file libaacs.dll online so you have AACS decoding. I am told it hasn't been updated in awhile so there may be disks produced after 2013 that won't work right, but you won't know until you try.

There's a set of keys you will also want to have so that the player knows how to work with specific disks, and so do a search online for the "FindVUK Online Database". There will be a regularly-updated keydb.cfg archive file on that page to pick up.

Got those three programs installed and the other two files obtained? Okay, here are your instructions for assembly...

In VLC: go to Tools, Prefs, click "show all"… under the Input/Codecs heading is Access Modules then Blu-Ray: Select your region, A through C. You can change this if you need to for foreign disks. Next related action: go to My Computer and C:, click into Program Files and VLC, and this is where you copy the libaacs.dll file to.

In MakeMKV: click View, then Preferences, and under Integration - add VLC.

Confirm that Java is set up to work with VLC by going to the computer's Control Panel, going to System Properties, and into Environment Variables. Click System Variables, and click New to create this key if it doesn't already exist: … Name: Java … Value: [the location of the Java 'jre#.##' folder... use Browse to find it in C:\Program Files\Java]

Let's go back into My Computer and C:, this time go to Program Data, and then do a right-click in the window and select New and Folder. Rename this folder "aacs" (without the quotes), and then you click into it and copy the keydb.cfg file here.

REBOOT.

And now you should be able to recognise Blu-Ray disks in your player and play them. Three troubleshooting notes to offer in VLC:

"Disk corrupt" -- this means MakeMKV has not decoded and parsed the disk yet, or that you don't have the libaacs.dll in place so that it can decode the disk. ...After checking the VLC folder for the DLL to make sure, launch MakeMKV, then go to File, Play Disk, and select the Blu-Ray drive. Now it will grind a bit and figure out the disk's contents.

A note appears when a movie starts saying there will be no menus, but the movie plays fine -- Java isn't running. ...Invoke Java by going to the Java Settings in Start: Programs. You don't have to change anything here, so Exit, then eject the disk and put it back in to see if the movie's menu now appears.

Buffering between chapters, making the movie pause for a few seconds? There is a setting for this but I need to find that info page again for where that is. (If you find it, tell me where it is!)

I don't claim to know a lot but if you have any questions I might have some answers or suggestions. So far I've watched "Office Space" and Disney's "Coco" without any issues beside occasional buffering.

[da-janela-lateral]

Extrasensorial Powers Genetics and Why Most Espers are Men

by Dr. Konishi Haruka

A classic question brought up by people who are just starting to learn about basic parapsychology is: “why are most espers male?”. While this phenomenon is partially caused by research bias and poor media coverage, specialists affirm that it has a concrete answer in one of the largest subsections of the paranormal studies field: psychogenetics.

The manifestation of ESP (extrasensorial powers) is influenced by several factors, which are divided into external (trauma, stress, background, culture, etc.) and internal factors (genetics, brain chemistry, personality, etc.). Although genetic inheritance is only a part of what determines if an individual is an esper, it plays an important role in making the development of ESP possible in the first place.

The genetic portion of ESP is polygenic - that is, controlled by several genetic variants, each one with its own small effect. The main genes that interfere in the presence or absence of psychic powers are commonly referred to as E gene (or expressor gene) and K gene (or key gene). The E gene is responsible for a major part of the development of ESP, by linking the nervous system with excess soul energy stored near the telencephalon. On the other hand, the K gene stimulates an abnormal cerebral development, which in turn allows the organism to awaken and control ESP.

Even though these genes are directly related, they have different inheritance modes. The E gene is located on the x chromosome and follows a X-linked recessive inheritance; this means that the mutation will only affect people who have it on all of their X chromosomes. As a consequence, it happens much more often to men, as most of them have only one X chromosome that can be affected. In turn, the K gene has an autosomal dominant inheritance, which means that any person with an active K gene will express it and pass the mutation to their children. Because these genes are only activated through a mutation and depend on each other to work, most of humankind never develops ESP.

All of this makes it harder for women to meet the biological criteria for ‘awakening’, as not only they would have to have an active E gene on both of their X chromosomes, but also an active K gene somewhere. Thus, a greater proportion of natural espers are men, while many women acquire psychic powers as a consequence of prolonged stress and social pressure.

Examples

XY inheritance

XX inheritance

-------- A test for my "Matsumoto Parapsychological Research Collection" series!

This is a small project of mine in which I'll get all the data on the ESP and spiritual worldbuilding in MP100 I possibly can, then create mock articles and infographics that both explain details of canon and make hypothesis about everything that wasn't elaborated on. This piece in particular is more of a headcanon-y explanation for the pattern of family members having psychic powers, so expect the next installations of this series to be more based on canonical information. I hope I can get to the more interesting parts soon!

[whencyclopedia]

Desert Kites

Desert Kites are mega-constructions that consist of two long walls converging upon an enclosed space that has on its periphery small stone constructions called cells. Seen from the sky, their shape suggests that of a windborne kite; they were thus called kites by pilots who flew over the arid regions of the Near East in the time of the French and British mandates of the first half of the 20th century CE. These kites combine various characteristics which in archaeology have been the object of particular research. However, most classical methods of investigation are useless because of the nature of these constructions.

In spite of many studies, kites remain a mystery in many respects, although recent research has advanced their knowledge. We are beginning to better understand their geographic extension, their age and their function, crucial questions still under discussion a short time ago. From the beginning of the 2010s CE, the access to high-resolution satellite images stimulated research by revealing that there are many more kites than were thought a few years ago. From this new data source and more classical information, multidisciplinary investigations were launched in conjunction with the organization of field expeditions.

Morphological Description

Kites are large archaeological remains, generally quite well preserved. They are dry stone constructions, composed of an enclosure and more or less continuous walls which converge towards an entrance; these walls can sometimes be absent but are usually two in number and sometimes three, four or more. Their length is commonly several hundred meters and can even reach several kilometres, while their height is no more than a few decimetres. The enclosures are variable in shape (circular, triangular, star-shaped, etc.) and their size, far larger than pastoral enclosures, varies from a few hundred square meters to more than ten hectares.

The small stone constructions or cells that are joined to the external part of the enclosure are the most sophisticated part of the device, always carefully constructed. Their number varies from a single cell to several dozen. The variability among the kites makes it difficult to propose a typology. Several often-observed attributes are considered, such as a disposition of the cells near the entrance, the existence of cells at the extremity of pointed appendices and the particular shapes of the entrance. These features are most often shared by kites from the same region, thus forming homogeneous groups circumscribed at the regional scale. Kites are found in arid environments, steppes and desert margins and their topographical location is clearly the result of a definite choice. A break in the slope is the most often observed at the position of the entrance and various topographic configurations were preferred to flat topography.

Continue reading...

[squircatlies]

I somehow haven't seen anyone talking about it, but what is our point of view in tmagp exactly?

In tma it was the tapes obviously, in tmagp by the sound of the system powering on and off it would be logical to assume we're listening through the office computers (ignoring the fact that most, especially older computers don't have a microphone built-in and I highly doubt the government would spend money on external ones if they're not necessary for the job), but that would only allow us to hear whatever's happening in the proximity of the haunted pcs. This wouldn't be ideal as it would tether us to this one specific location.

So perhaps more technology can potentially serve as our pov in the future? Of course that would include other computers and phones, but also things like security cameras and smart appliances. I know that new tech was unusable with the statements in tma, but it might not be entirely the same in tmagp.

And if we could listen through other devices, would it be possible for Martin to cut into a podcast Alice was listening to with a spooky story? Could Jon interrupt the morning news to give Sam the latest update on spelunking progress in the ruins of the Magnus Institute? Just imagine Gwen trying to eat breakfast while her toaster is describing how it feels to rot from the inside in a stupidly pretentious voice, that may or may not belong to Jonah.

Edit: I forgot we got to hear their conversations from outside the office already while making the original post, meaning the part about various pieces of technology being able to listen in is already confirmed in cannon.

Also I see everyone suggesting we're seeing the story from Freddie's pov and I can't disagree, however that only leaves us with more questions. Like what exactly is Freddie? I don't believe for a second that it's just a program for collecting data. We have no idea who actually created it and for what purpose. What more can it do? Is it alive or conscious somehow? Who or what does it serve? What is its ultimate goal?

[gallifreyinstituteforlearning]

The tenth Doctor in journeys end (i think?) said a TARDIS is made to be piloted by 6 timelords, what roles would each have in the TARDIS?

What roles would six Time Lords have in piloting a TARDIS?

This is more speculative, based on the known features of a TARDIS.

Console Panels and Systems

A TARDIS console is split into six 'panels', with each panel operating a different aspect of the TARDIS' systems. When there are six pilots, each Time Lord would likely specialise in operating a specific panel and system. Although the console layout may change with each TARDIS's 'desktop theme,' the six fundamental panels remain the same.

[Image ID: On the left is a top-down diagram of the 9th and 10th Doctor's coral theme TARDIS, divided into six panel sections. Each section is labelled from 1-6 clockwise starting from the 12 o'clock position. On the right is a text list of the panels and their names: Panel 1: Mechanical and Master Control, Panel 2: Diagnostic and Internal Ship Systems, Panel 3: Fabrication and Information Systems, Panel 4: Navigation, Panel 5: Helm and Dematerialisation Systems, Panel 6: Communications and Exterior Monitor./.End ID]

See this page on the TARDIS Technical Index for more variations on desktop themes.

👨‍✈️ Roles and Responsibilities

Here's a breakdown of each potential role and their responsibilities:

🔧 Panel 1: Mechanical and Master Control

Role: Chief Engineer

Responsibilities: The chief engineer monitors the TARDIS's overall operation. They ensure that all the mechanical systems and master controls are working properly. If anything goes wrong, they step in and fix it.

🛠️ Panel 2: Diagnostic and Internal Ship Systems

Role: Systems Analyst

Responsibilities: This person is all about the internals. They monitor life support, environmental controls, and the internal power grid. Basically, they make sure everything inside the TARDIS is working as it should.

🖥️ Panel 3: Fabrication and Information Systems

Role: Data Specialist

Responsibilities: Managing the TARDIS’s databases and info systems, and handling any fabrication needs. Whether it’s creating new tools, repairing old ones, or just making sure the information systems are up-to-date, they’ve got it covered.

🧭 Panel 4: Navigation

Role: Navigator

Responsibilities: Plotting courses through time and space. The Navigator makes sure the TARDIS lands where it’s supposed to, calculating all those tricky temporal vectors and spatial positions. They work closely with the Pilot to make sure the journey is smooth and safe.

🚀 Panel 5: Helm and Dematerialisation Systems

Role: Pilot

Responsibilities: This is the person at the helm, controlling take-off, landing, and in-flight manoeuvres. They handle the dematerialisation and rematerialisation of the TARDIS, making sure it takes off and lands without a hitch.

📡 Panel 6: Communications and Exterior Monitor

Role: Communications Officer

Responsibilities: They handle all external communications and keep an eye on what’s going on outside, involving sending or receiving messages or watching out for any threats or anomalies.

🏫 So...

Potentially, each Time Lord on the TARDIS would have a specialised role associated with a specific panel. Ideally, they're probably all working together like a well-oiled machine. However, poor old solo pilots have to jump around like madmen trying to cover all the controls at once.

Related:

Do we have any info on TARDIS biology?: Overview of TARDIS biological aspects.

Can a non-Gallifreyan benefit from a symbiotic bond with a TARDIS?: Non-Gallifreyan symbiosis with a TARDIS.

How to locate a TARDIS pilot: Guide for locating a pilot or other crew members using the TARDIS.

Hope that helped! 😃

Any purple text is educated guesswork or theoretical. More content ... →📫Got a question? | 📚Complete list of Q+A and factoids →😆Jokes |🩻Biology |🗨️Language |🕰️Throwbacks |🤓Facts →🫀Gallifreyan Anatomy and Physiology Guide (pending) →⚕️Gallifreyan Emergency Medicine Guides →📝Source list (WIP) →📜Masterpost If you're finding your happy place in this part of the internet, feel free to buy a coffee to help keep our exhausted human conscious. She works full-time in medicine and is so very tired 😴

[livingforstars]

The Radio Sky: Tuned to 408MHz - November 26th, 1996.

"Tune your radio telescope to 408MHz (408 million cycles per second) and check out the radio sky! In the 1970s, large dish antennas at three radio observatories, Jodrell Bank, MPIfR, and Parkes Observatory, were used to do just that - the data was combined to map the entire sky. Near this frequency, cosmic radio waves are generated by high energy electrons spiraling along magnetic fields. In the resulting false-colour image, the galactic plane runs horizontally through the center, but no stars are visible. Instead, many of the bright sources near the plane are distant pulsars, star forming regions, and supernova remnants, while the grand looping structures are pieces of bubbles blown by local stellar activity. External galaxies like Centaurus A, located above the plane to the right of the center, and the LMC (below and right) also shine in the radio sky."

[foxglovefaun]

i have a loving and desperate reminder for folks working on large/long term projects in digital format:

it's unwise to make the "cloud" your primary location for data storage. making back-ups in them is fine, but the most secure place for your work is on an ext hard disk that you can detach from your machine, and on multiple copies if you can manage/afford it. (and dont forget to unplug your ext drives when not actively using them!!)

if you dont have access to a personal computer, the public library in your area likely has computers available that you can use. even if theyre not powerhouse machines, they can do what's needed in order for you to back up your stuff. using the internet there you can access your phone/tablet cloud storage online and copy your work onto your external drive. it's definitely inconvenient, but it's probably more convenient than losing your entire library of personal work, writing, and photos.

discord stopped hosting images not that long ago which broke a lot of hyperlinks for personal web projects, google is doing sinister google stuff and is probably going to continue to do so, and we're sort of teetering on a major data/archive crisis that definitely won't put people like us first. corporations are not interested in protecting you. you are the only person who can keep your artwork, writing, and photos secure. ❤️ 🙏

i love you ❤️ pls protect your passion projects ;-; dont let corps decide if your work lives or dies pls back up your digital stuff

[leonaquitaine]

Sights of Eorzea: A Quick Update!

First of all - sorry for the lull in posts about pretty things!

The team behind the Sights of Eorzea discord server has been working tirelessly behind the scenes to set up the space, and it's consuming a good chunk of my free time. With that said, much has been done - so here's a quick feature rundown, and a teaser of things to come!

Guides

Every single guide I've worked on so far is listed there, and you can filter by subject and type!

Places to go, Studios to visit

One of the most used features in the server, the gpose-location forum allows users to post their screenshots with location and search tags - so if you're hunting for that perfect spot, this is the place for you!

In the same forum, you can find Studios as well! They're categorized by physical data center (NA, EU, JP, and OCE) and residential zones, and if you have a studio you can create your own entry and let other people discover your amazing work!

In the works: External location database

In parallel, we are also preparing to launch an external website specifically designed for scene search! It will be in sync with the server's gpose-location forum, allowing external users to have access to the contributed entries and search by tags!

(I know, the interface is awful. It's a work in progress, Ok? ;))

We're also planning to have a map view of these entries, where you can look for different angles and perspectives!

With all that said - you're invited to join Sights of Eorzea today and participate in its already vibrant and welcoming community! Join us as we forge new friendships, share captivating stories, and embark on adventures together!

P.S. I promise I'll resume my usual gpose and virtual photography content soon™; thanks for your patience!

[nelc]

Orbiter Columbia OV-102 had a unique external feature the "SILTS" pod (Shuttle Infrared Leeside Temperature Sensing), it was located on the top of her vertical stabilizer. It was installed after STS-9 (1984) to acquire infrared and other thermal data on the vehicle’s environment. The instruments were removed after several missions but the pod remained.

[eurothug4000]

INTERVIEW WITH SHIGENOBU MATSUYAMA - PRODUCER ON SILENT HILL THE ARCADE

I had the pleasure of interviewing Matsuyama-san, one of the producers on Silent Hill the Arcade! Here's what he had to say :)

Q - How did the idea for Silent Hill The Arcade come to be?

A - During the arcade boom of the 1990s and the 2000s, a desire was born to combine the unique worldview of the Silent Hill series - which was already a very strong IP console game-wise – with the haunted houses one might find in an amusement part. We wanted something that could provide an easy and pleasurable experience to an extremely varied range of customers… as in, the casual users. This is the idea that brought Silent Hill Arcade (SHA in short) to life. However, since our goal was to create a new kind of experience that could not be replicated anywhere else, we designed a game that could make the most effective use of the 5.1ch surround sound system, which was something that arcade games hadn’t adopted until that point, with a type of cabinet that could be somewhat isolated from the rest of the arcade via the use of curtains.

Q - Roughly how long did development for the game take?

A - At the time, the development cycle of an arcade game was so short it would be unimaginable today. The shortest one was around six months, the longest about one year and a half. I think SHA took us around one year and two months.

Q - What parts of development were most enjoyable for you?

A – Usually, arcade games are tested a certain number of times, both during development and just before launch in each and every country where their release has been scheduled (which, for SHA, meant Japan, the US, the UK, Italy, Spain, France, Hong Kong and Singapore). In order to keep the development budget for SHA as low as possible, however, I personally traveled alone to the US for the market testing, assembled the cabinet all by myself, repaired it when it was out of order, and stood next to it for days on end, pen and paper in my hand, ready to collect the players’ data. Game development, nearly 20 years ago, was very much an analog experience. It was also hard work, but when I look back, I have so many good memories of that time.

Q - Do you remember any kinds of ideas that you and the team wanted to include in the game, but didn’t in the end?

A – I’m sure this will sound obvious, since SHA was based on a pre-existing IP, but since the framework was pretty much already set when it came to characters and plot, we had to be extremely careful not to deviate from it so that we wouldn’t create inconsistencies. Personally, I would have loved to take the story in slightly wilder directions and include new and fresh ideas.

Q - I loved seeing so many locations from Silent Hill 3 and 4 make an appearance in the game! Was the team who worked on those two games involved in making any decisions for Silent Hill The Arcade?

A - We of course personally consulted select staff members of Konami, like for example Producer Yamaoka, with whom I had been acquainted with since before SHA. However, most development teams had a mix of internal and external members that changed pretty fluidly with each and every year, so there was no real collaboration between the various teams.

Q - What level of freedom were you given for creating this original story within the Silent Hill universe? Were you given any specific directives on what you could or could not integrate/use in the story?

A - If I have to express my personal point of view on the matter, however, should you compare the storyline for SHA with the timeline of the other games, you would indeed notice a few minor inconsistencies that we were not able to completely solve. That’s something I still have regrets about.

Q - Tell me about translating a traditional survival horror experience into the rail shooter genre and control style. What kind of considerations did you have to make for this?

A - The biggest challenge was by far to design a game system that could be as simple as possible, and to regulate the level of challenge in a way that felt balanced, because we didn't want to force complicated controls or an exceedingly high difficulty level on the casual arcade players. Moreover, there was another balance we had to strike perfectly: more specifically, the one between the aforementioned "haunted house" element - the one that was unique to SHA, with its sequences of terrifying events - and the thrilling playstyle that a rail shooter should provide to the player.

Q - As a final product, what are your personal thoughts on the game?

A - I think it had a state-of-the-art sound system, that the design of the cabinet, with its creepy-looking curtains, made people want to take a peek inside, and that the rail shooting system was simple and could be enjoyed by virtually everyone. I think we managed to combine these various elements with a one-of-a-kind worldview of Silent Hill in a way that was in my opinion pretty good! Of course, each and every member of the staff did their part, and I thank all of them wholeheartedly.

Q - Are you working on anything currently that you’d like me to mention?

A - Feel free to write whatever you prefer! If anything, I should thank you, since you allowed me to walk down the nostalgia lane and recall memories from almost 20 years ago that had been dimmed down by the passage of time. Thank you very much!

Shigenobu Matsuyama's site: shig.jp

[attex]

You think fp and lttm have some self soothing behaviors?

i have been regularly thinking of answetring this ask (it was sent 3 months ago.) but i kept fucking forgetting. i think they do tbh but theyre akin to how they move around their puppets by default, yknow how some people move their hands when talking its like that for their Thinking in a way. it can be like when someones mumbling/talking to themselves cuz theyre really lost in thought or something. (insert joke about italians here) this applies to every iterator with a functional connected puppet...

this is just advanced headcanoning btw, read more cuz its kinda long and not formatted well

for the cringe siblings though i headcanon five pebbles would be touching his robe fabric a lot (especially post-rivulet where hes more concentrated on his own puppet and tries to use it more to ground himself to his own body), he does that out of stress usually as another little external representation of his emotions- i imagine a lot of the structure straight up moves and has a lot of its parts basically shifting and wiggling around, its more involuntary but i think pebbles moves and bundles up his cables that are normally used for local data transferring. he doesn't have much to reorganize within him internally a lot of the time (anymore...) so he basically moves his devices for it for the sake of the sensation of having/doing some sort of action

i think moon sometimes gently rocks her puppet back and forth when under-stimulated. though she usually lands back to staying very still (she does this before her collapse too anyway, she meditates in a way have you seen how she moves her puppet to the middle of her chamber and closes her eyes and has her halo move gently etc. AHHHHH its so cuteeee) also i draw her with hair like wires so um :) she braids them sometimes or caresses them. shes much more disconnected from her entire body so its Something to do at least. she will hold and look at the pearls or other items that creatures end up bringing to her also <3 post-rivulet she gets a lot to do with her structure. she very often rumbles parts of her to hum sounds and such, she does this with her puppet too but its more akin to humming a melody for the puppet lol. while every iterator can has a near-constant background hum and noise caused by many things, moon explicitly alters her internal humming to match external things she is experiencing- (unlike other iterators who don't usually have their internal "rhythm" match their external environment as well) i believe she developed this habit to be more in tune with her environmental location as it helped with not causing as much harmful interference to all that is around her (she has an older, not as performant/optimized can so she needed to adjust to function better), its beneficial for her workings too lol! her organic parts do need to be in tune with the life surrounding her to be able to keep stable.

[cliffou29]

Build bigger

Ok, so I’m sharing with you my method to buil digger in TS4.

As it is not possible to have lots larger than 64x64, I looked for a method to arrange multiple adjacent lots (with a slight overlap) in order to build multiple lots and give the illusion of having a single building.

After numerous trials and errors, many failures, periods of giving up, new attempts, I finally succeeded in doing what I wanted: modifying the "World" file of Newcrest to rearrange the 5 lots located on the right.

I created 3 layouts: one in the shape of an L, one in the shape of an M, and one in the shape of a U. You can choose according to your project. Therefore, there are 3 world files available to download :

Download here

- BG_Engagement_01L.world

- BG_Engagement_01M.world

- BG_Engagement_01U.world

I recommend downloading all 3 and storing them somewhere on your hard drive so that you can switch between layouts depending on your projects. 

How to use them :

It's quite simple: just go to the folder C:\Program Files\EA Games\The Sims 4\Data\Shared\Worlds\Areas and replace the file "BG_Engagement_01.world" with one of the three downloaded files (so you need to rename the chosen file by removing the letter indicating the layout).

Attention: for safety, save the original world file somewhere just in case...

Then, you just need to build the different lots: to have a single building, it is necessary to manage the walls at the boundaries and thus plan the construction carefully... obviously, a room cannot be overlapped between two lots (when on a lot, you can see the external envelope of the other lots but not the interior).

It's a method that can satisfy builders, but it's not really suitable for playing The Sims normally...

I heard that during updates or installation of expansions, world files can be restored. So I think that during updates, I will have to redo the process (hoping it won't break the files... but only the future will tell).

* Note: the display in the world view is not great. When the lots are built, the visuals cover up the clickable areas of each lot... so you have to experiment with the mouse, but it works :)

I hope you’ll enjoy it

[looney-loopy]

in case you were wondering, this is it. this is the time to start living out of spite. be safe, but be yourself as much as you can. save to external archives everything on the internet you care about, start printing your photos; take your name, date of birth, location and other sensible data off of every internet account you have; start reading what fucking cookies you're gifting websites before accepting them; dont survuve, but live out of spite. cling to everything you love, discard the rest -wheter we're talking about people, objects, or pieces of media-