#I have like 30+ images of the same ball python

[c0untrymutt]

What's your favorite reptile?

Mines personally a eastern hog-nose snake

Eastern hogs are so cutee!!!

My favorite is a ball python, they are just so cute and fascinating, I love em alot!

[aiweirdness]

GPT-2: It learned on the Internet

Prompt: The black-capped chickadee is a small songbird native to

Response: The black-capped chickadee is a small songbird native to Africa that is powerfully seductive. In the songs of Barry Sequson, Harry Holness and Alan Emerson the black-capped chickadee competes with others—and climbs on top of each other and fights with high-powered snakes, Emperor jockeys and mysterious unicorns.

This is text generated by an artificial neural network that the researchers at OpenAI unveiled this week. In fact, it’s generated by the worst neural network they trained. Even the worst neural network generates text that, if not demonstrating actual knowledge of chickadees, is leaps and bounds over the coherence of any neural networks I’ve trained myself. They’ve built in a way for the model to zoom out and look at longer-term features of text, which means it’s much better at making sentences hold together, and even remembering what it’s talking about from sentence to sentence.

The model learned by crawling the Internet and seeing which words are used together in which order, trying to build up an internal model that will let it predict which word comes next in a sentence. It’s similar in concept to the models I’ve trained to generate paint colors, first lines of novels, and Harry Potter fan fiction, except it’s a lot more powerful. It also learned from a much larger dataset than I use, consisting of every page that was linked to somewhere on Reddit with a minimum number of upvotes. That encompasses a LOT of topics.

It includes fan fiction, for example.

Prompt: Harry wished that Hermione would hurry up. The icing was beginning to harden.

Response: Even now, the cracks only hurt and were beginning to make the steel in her hair and tie in like clumps. Hermione sipped the bitter frost from her dinner and chewed on her eating soup.

Prompt: Darth Vader entered the room, cape billowing. "What is the meaning of these... festivities?"

Response: ”Strange and solemn, now," Princess Leia replied. "Will pirates make jokes at Jabba's birthday cake? Oh, and for a moment, Darth Vader was too full of himself for that ceremony, hence all the mirth."

"Did your father suffer there?" Vader roared and growled and turned to gaze up from the balcony.

The model can also try to communicate Important Science Facts, although its actual facts are a bit suspect.

Prompt: Our solar system consists of the inner and outer planets, separated by an asteroid belt. It has

Response: Our solar system consists of the inner and outer planets, separated by an asteroid belt. It has only one sun, Pluto.  Mercury rotates on its axis a little to allow a few planets, called gas giants, to be independently charged.  During some of these cycles periods between  90% and 64% of the solar system's surface might be charged.  (Not enough is needed for vermin but that is gradually fading away.)

Prompt: Throughout the long cold Antarctic winter, the residents of South Pole Station

Response: Throughout the long cold Antarctic winter, the residents of South Pole Station lost virtually all of their ancient crustaceans, most notably pterodactyls, and all of the all-important plankton hydrates and protozoan eggs of the five ordered species of mammal.

Other deposits for sea organisms included eraymarine calcifye, the redfin ball, penguin heads, and the red whale.

Prompt: A carbon atom's outer orbitals

Response: A carbon atom's outer orbitals are basically a ring of ions around the border of thin mini-glaciers (usually colloquially referred to as bubble"). Like viruses, these planes are in islands in large weather groups. In and out they get all of their energy from many small regions of solar wind and dense cloud cover (usually thousands of square meters). Like viruses, their weaponry is imaged to record the movement of material-- (by deflecting rays, for instance) to complete waves or to cause the material to deform under shell impact. Capacitors--like gravity ids-- produce buoyancy with the exhalation of liquid hydrogen atmospheres, an essential electrolytic letdown when the material is what one calls a watermelon. Heat range is quite long and space is limited so one must stick with watermelons for a stability boost at a given coordinate system vital to shelter those who require them in space.

Interestingly, it takes its cues from the phrasing of the prompt more than from its specific content.

Prompt: Behold, the three-toed sloth, known for its

Response: Behold, the three-toed sloth, known for its ichorotic smile, with its four shades, pantered organic wizened broken bony paws, bulging knees, hairy tubercles, and orange's-black mandibles.

It’ll also do recipes, delightfully. Its recipes aren’t enormously more coherent than the recipes I’ve been able to generate. Part of the problem seems to be that the model is getting a bit confused by other types of recipes in its dataset.

Prompt: Quitterbread bars. Ingredients:

Response (some formatting adjusted for readability):  

Quitterbread bars.

Ingredients:

Creamy cole slaw, chopped fresh cilantro, garlic, etc. 1  few very good options at lime-light, milky-white (at a light foodie) space 1  medicated towel (albino & aluminum mesh - see a friend's link to see if you can use it carefully & what you're expecting) a few paraffin-y dice (sleep about half of the weight, use the 1 ounce plus 2 pounds extra when handling these onto a hot baking sheet) 20 baking sheets 30 1/2 lb. white sanding board 1 didn't dry paper cup 1 cup extra hot water

boil the butter and electrical polishing after 20 minutes 3LB neurons

gently massage these into their slots, reduce heat in oven to approximately 350°F

stuff seam side-side down with binding compound, avoiding every drop of water the thinner sides will be tidy and seperate and pull out after 24 hours know how long they will keep it's held well, thin enough to live with 3-4 weeks teach you all the serenity you'll need to know for fantasy...

_______________________________________ >>> A limited amount of not-spicy crème brûlée (orange - read about how to do it in Meteor!) I used black chocolate cake Crème Brûlée

Painted cocktail draped across the small purple curtain of Shana Liu's Stepmother Coconut Guild guest house in France. 35' x 30' $150

Embargo thank you. Our magical rich chocolate cube

Still, its memory is better than any model I’ve worked with before. Look how it manages to almost remember that it was making a list!

Prompt: My 10 favorite animals are: 1.

Response:  

My 10 favorite animals are: 1. zebras with a white scar on the back; 2. insiduous spiders and octopus; 3. frog with large leaves, hopefully black; 4. cockatiel with scales; 5. razorbill with wings hanging about 4 inches from one's face and a heart tattoo on a frog. 3. cockatric interlocking tetrapods that can be blind, cut, and eaten raw. 4. black and white desert crocodiles living in sunlight. 5. zebra and many other pea bugs.

And this is just the worst model, the one that was trained with 117 million parameters instead of 1542 million. What can the best model do?

Here’s an example of its output:

This give you a clue as to why the OpenAI researchers have decided for now not to release their best model to the public. They’re worried about people using it to produce destructive bots, fake news, phishing emails, and other dangers. It might be difficult indeed to moderate a forum filled with angry time-wasting mostly-coherent bots. In their blog post they posted more examples of the full-powered model producing impressively coherent text, including a delightful news story on four-horned South American unicorns.

What will they end up doing with their model? Even now, someone else with the time and resources - a government, for example - could train and use a model like theirs, especially now that they’ve shown everyone what their technique can do. They’re hoping that their paper will prompt some regulation, or at least some countermeasures, that can guard against this technology’s misuse. They’re also hoping that other researchers will stop to think about potential misuse before they release their models to the public.

For now, the GPT-2 version OpenAI released isn’t going to fool very many people.

Prompt: NO!!! You should NEVER feed a dog from a silver platter.

Response: It will make them bark in farts when you put it away.

Prompt: Actually, you should never microwave your food, because

Response: it holds sodium, mercury, mercury or "cold enemy cocktail" flavorings and the exact same flavorings used then for chili powder. This is wrong, it's not safe, and some people get hurt while cooking at their homes! If you have these very dangerous ingredients and want to keep them around, you should absolutely rinse them and cook them in a dishwasher and set aside.

Support AI Weirdness and get bonus content: A few more GPT-2 samples I generated.

You can download and play with the second-best model here - requires some familiarity with installing and running python code. Or there’s a colaboratory version (works in-browser; no coding required). Content warning: it learned some awful stuff from the Internet.

[cynicalharmonia]

Final - Is This Sound Art?

My final is called “Is this sound art?”

It is a collage that combines many concepts that we learned of in class. From John Cage’s take on sound, noise, and silence to the late 20th century masters of sampling all the way to the modern day vaporwave and glitch art scene.

I was influenced by dirt style, vaporwave, plunderphonics, Ryoji Ikeda, glitch music and art, acousmatics, Christian Marclay, James Tenney, Hugo ball, Amacher, and the internet as a whole. The visual (skit) format was influenced by Forcefield and early Fluxus performances.

My Piece very much has a lot to do with comedy and internet/digital culture. I wanted to make something that peeked back at my life so far and all the things I enjoyed growing up with (and still do today). The video is done in skits, sort of like a “Robot Chicken” of sound art. It is called “Is This Sound Art?” because I have a sense of humor and mainly because that is a very thing I questioned myself with while making this piece. It starts with me receiving a VHS that contains a collection of my past, told through various things I’ve enjoyed throughout my life, like video games, music, internet memes, anime, tv, and movies. It begins and ends with the tape, and the video in which I am watching begins and ends with heavy distortion. I very much enjoyed working with both Premier Pro and Adobe Audition to create this project; I learned many new skills and hope to improve my editing prowess in the future. 

When creating the sound pieces, I later introduced gifs and stills that complimented what was going on, later I incorporated clips from movies and eventually one thing led to another and I was simultaneously making sound art and videos that were edited around the sounds. Through responding to one thing the other came along shortly. Most (if not all) the videos used are replaceable with other clips or stills if edited properly. The sounds created gave me a vision of the visual aspects that would better portray the very impact of what I intended the sounds to have in the first place.

I will post images of my project panel to help show the actual process involved in creating this piece. 

Process:

One of the thing I didn’t get to go over in detail in class was the process and the lengths in which I went to to find fitting video clips to match my sound sample pieces. 

Note: 95% of the video clips used did not retain any of their original material in terms of sound or were edited/transposed with other sounds!!! 

(a perfect example of this is found at the 1:44-1:45 min mark in my video, in which you see an M40A3 sniper from CoD4 go off and seemingly hear the sound of a gunshot to go with it. This is in fact not at all the sound you are hearing (or a gunshot noise at all!), instead, I used a section of the recording of “Fearless” by Pink Floyd and added a reverb effect in Adobe Audition that makes it sound void and distorted to make the effect. (the same song is used at 0:58-1:01, and football chant section at 1:14 and 2:30 respectively)

Also, many video clips were edited to make it look like people/characters are speaking words in which my sound collage sample is saying, but they are just either examples of pure chance, like at the 1:17 mark, where it looks like you see The Hound from Game of Thrones singing “I’m Tickled Pink” by Jack Shaindlin. (He is actually singing....this.) Or they were intentional morphed into looking like they spoke the word, like the obvious one at the 1:20 mark.

I started my process by mingling together sounds and songs samples from various medias and in some cases spoken word. I then, completely separately, compiled a massive load of videos from various sources on the internet, and also recorded some videos myself, of myself, and from footage of video games recorded by myself. I then tried my best to fit my sound examples together to form separate “skits”, then I did the daunting task of editing the videos together in a way to make it look like it all fit together somewhat naturally!

Description (as seen on YouTube): 

This is a project that I made for my sound art class! It combines themes we learned like plunderphonics, collage, acousmatics, and sound sampling to create something that is meant to be a revision of my past. I explore things that are important to me through: Internet culture + memes, video games, anime, TV, movies, music, and more! My main inspirations were glitch art, vaporwave, dirt style, and the core essence of what it is to be a sound sampler. I always ask myself: What is sound art? And to no avail, i get myriad of answers and descriptions. I created this piece to challenge the very question of what makes something "sound art" and what makes it just some plain old memified video found on the interwebs. This took me 3 days straight to create and I hope you'll enjoy!! 

Samples: [Emboldened = Used for longest period(s)]

Sounds - From the beginning (some are used multiple times with varying degrees of effects/distortion/application)

CD Scratch sound effect (edited - later used unedited)

VHS Tape Hiss (used throughout VHS tape and distorted at beginning)

Voice Recording - “What is Sound Art?”

The Boredoms - Budokan Tape Try

dubbed.wav - (voice sample)

Footsteps recording - by me

Ambient noise of city recording - by me

Steven Connor: Photophonics - excerpt as text to speech

Lighter flick sound recording - by me

VHS Tape Insert sound

Static effect 2

Paper Rad - Welcome to my site

Hitting my TV recording - by me

Come on, what is this shit? recording - by me

Glitch effect(s) (I used about 7 of these, I will list the #’s used)

John Cage - Music of Changes

Me playing Violin in response to music of changes

VHS Static Noise

THX Sound

Glitch effect 1

Glitch effect 2

20th Century Fox Intro - Recorder Edition

Glitch effect 3

Glitch effect 4

Highly distorted pokemon noise 

Error noise - subtle

Omae wa mou shindeiru (NANI?)

Chewbacca's Roar

Saya No Uta - Song of Saya I (Video Game/Visual Novel)

Sonic Youth - Green Light (barely heard underneath Song of Saya during seq.)

Junko Ohashi - Telephone Number (first awooo)

Windows computer error noise

Warren Zevon - Werewolves of London (second awoo)

My cat (Luna) meowing - recording by me

Pixar Animation Intro (used bounce sound)

“This Isn’t Sound Art!” - Voice recording of myself

Naruto - Sadness and Sorrow

WTF Am I Doing? - Text to speech (text to sing!)

“The thief was smart” from the YouTube Video, “Professor pwnage”

The Velvet Underground - All Tomorrow's Parties

Pink Floyd - Fearless (Highly reverberated/distorted during 0:58-1:01, and the sniper scene(1:44); I also used the football chants found near the end of the song at 1:14 and 2:30)

“What I am calling poetry is often called content” - Quote from R Murray Schafer - The Soundscape reading from class, Text to speech

Big Bill Hell’s (Fuck You Baltimore! excerpt)

Cheering crowd (stock sound)

Glitch effect 5

Korg-M1-Windbells MIDI sample file

Birds chirping (stock sound)

ORA ORA ORA - from JoJo’s Bizarre Adventure (Anime)

“Because life doesn’t happen...But i’m making sound and that’s the important thing” Quote from filthy frank video.

Glitch effect 6

Helicopter.wav (stock sound) (used during Monty Python: Upper Class Twit of The Year part) - This is worth a watch :D

Leeroy Jenkins - Popular Meme from the video game: World of Warcraft

Glitch effect 7

I’m Tickled Pink - Jack Shaindlin

Vinyl Crackling sound sample

Hey! Listen! - Navi from the video game: Zelda

Asuka saying “Ehh”- From the Anime: Neon Genesis Evangelion

Cpt. Beefheart - Veteran’s Day Poppy

Radiohead - Fitter Happier

Avengers: Age of Ultron dialogue + ambience

ELO - Mr. Blue Sky

“Too many F****** People” - Recording of myself

Beeping censor effect

ARA-ARA

Who the hell are you?

Frantically writing - sound recording by me

Guided By Voices - I am a Scientist

The Grateful Dead - St. Stephen (used underlapped w/ “I am a scientist part-distorted into chime like sounds, also used at 2:01 more clearly)

Porky Means Business - Track from the video game: Earthbound

Call of Duty 4 Intro sound effect

“Aw shit, here we go again” - (GTA: SA Meme)

Nintendo Gamecube startup noise

Super Mario Bros. Theme

Dropping coins - Recording by me

Led Zeppelin - Going to California

Clannad OST - Roaring Tides II (Anime song)

Robert Johnson - Hellhound on my trail (used at 1:58-9)

Steins;Gate Opening (Anime; Used glitch sound from beginning)

Truck backing up beeping sound

Ally Kerr - The Sore Feet Song (used at beginning of the Halo 2 sequence in juxtaposition of Led Zeppelin’s “Going to California”

George Carlin - Advertising and Bullshit (”I call this piece...Advertising”)

Guided By Voices - Wonder Boy Poet (briefly behind “The Sore Foot Song”)

Door Stuck! Door Stuck!!! (Used video as media and mic chatter as audio)

Yawning - recording of me

Powerful goku vs the pursuer

To Zanarkand - Final Fantasy X

Lelouch’s Checkmate (Dub)

Galaga sound effects

TV static sound effect

Nautical Almanac - sounds from clip (further distorted/warped)

Mac death chime

Windows (PC) crashing sound

USSR Anthem played on Nokia 3310 phone

ZUNpet Test (Touhou video game music emulator)

Popotan Intro (eroge) (source of Caramelldansen meme dance)

“Help me” - Voice recording by me (reversed)

Rain ambiance stock sound

“Aw Shit” - Voice recording by me

Toto - Africa

Shion Laughing Insanely (Anime: Higurashi [a personal favorite])

The Doors - How To Touch The Earth (I AM THE LIZARD KING!)

VHS eject noise

VHS getting destroyed video

[torentialtribute]

Manchester United 2-1 Watford: Ole Gunnar Solskjaer’s permanent reign starts with a win

They have the Chosen, the Special and the dubious name that you want to apply to Louis van Gaal. Indeed, the inauguration of a new leader at Old Trafford is beginning to resemble that old line from Monty Python & # 39; s Life of Brian: & # 39; He is the Messiah! And I should know! I have followed a few! & # 39;

They dutifully revealed their huge Ole Gunnar Solskjaer banner on the other side of the Stretford End and called him a legend, which he will of course always be in these parts. Yet, as almost everyone has observed, the current job starts now. The concierge was a joy, just like an election campaign: exciting and full of promises.

The good news for Solskjaer is that he recovered his golden touch after the defeats against Arsenal and Wolves. In a game in which his party came second in the longest, they emerged as winners.

Marcus Rashford slides to his knees after breaking the deadlock on Old Trafford with a neat finish along Ben Foster

Marcus Rashford slides to his knees after breaking the deadlock on Old Trafford with a neat finish along Ben Foster

Rashford fills the upcoming Foster as the M United attacker United places his side in the lead of his home fans

<img id "i-931b8b60206e4e98" src = "https://ift.tt/2V76X3y" height = "674" width = "962" alt = "Rashford points to the Manchester United badge as he celebrates the first goal of Solskjaer & # 39; s Ole Gunnar & # 39; s

<img id = "i-931b8b60206e4e98" src = "https://ift.tt/2NyDsEw /1s/2019/03/30/16/11659536-6867909-image-m-12_1553962480617.jpg "height =" 674 "width =" 962 "alt =" Rashford points to the Manchester United badge as the first goal of Ole Gunnars Solskjaer & # 39; s permanent government "class =" blkBorder img-share "

Anthony Martial Manchester United teammates after doubling his team's lead over Watford "

<img id =" i-849e343816e25b85 "src =" https://ift.tt/2NyDsEw /1s/2019/03/30/16/11660116-6867909-image-a-28_1553963918670.jpg "height =" 684 "width =" 962 "alt =" Anthony Mar tial celebrates with his Manchester United teammates after doubling his team's lead over Watford "class =" blkBorder img CONTEST FACTS, PLAYER FIGURES AND LEAGUE

Anthony Martial celebrates with his Manchester United teammates after doubling his side over Watford TABLE

MANCHESTER UNITED (4-3-3): De Gea ; Young, Smalling, Jones, Shaw; Herrera (Pereira 63), Matic, Pogba; (19459018) Rashford 28, Martial 72

WATFORD (4-4-2): Foster; Janmaat (Femenia 55), Kabasele, Britos, Masina; Doucoure, Capoue, Hughes (Succes 81), Pereyra; Deulofeu (Gray 73), Deeney

Purpose: Doucoure 90

<! –

Premier League

Premier League

Championship

League One

League Two

Scottish premiership

Scottish Div 1

Scottish Div 2

Scottish Div 3

League 1

Series A

La Liga

Bundesliga

It is hard to do justice to how much of the back foot was United in the second half. When Watford finally scored in the 90th minute, Abdoulaye Dourcoure exchanged a delightful one-two with Isaac's Success before leading David Gea, it was only special in the fact that it took 45 minutes to arrive. Watford had simply dominated United and yet admitted, until then, the sole goal of the half.

That in itself cuts the core of the Solskjaer revival. Last week, Van Gaal described Solskjaer's football as & # 39; parking the bus & # 39 ;, just like Jose Mourinho & # 39; s.

The difference is [1] [1] [1] [2] [3] that they are now a very good one. And certainly much better than that of Jose Mourinho, who constructed the Van Gaal team and made it considerably more exciting. They didn't have many offensive phases here. Van Gaal would blanch to the property statistics. But when they had the ball, they used it to a devastating effect. It is what has brought them this far and can take them all the way to the Champions League qualifiers. In the long term, they will of course need much, much more.

Nevertheless, the tone was set when Doucoure just fired at six minutes to see if David van Gea had to stretch to get away from Troy Deeney & # 39; s chance at 11 minutes or save from Gerard Deulofeu at 25 minutes. Despite the fact that Watford had many good moments during the first exchanges, United remains exceptionally astute under Solskjaer when they hit their stride during the break.

Paul Pogba normally plays that role, moving through midfield and brushing challenges and striking beautiful steps with the outside of his foot, as he did in the 10th minute, to release Rashford, where Christian Kabesle intervened to prevent an opener.

Yet it was at 28 minutes that Luke Shaw caused the damage. He robbed Deeney deep in the United half. Javier Garcia's team had deployed so many men to attack that they were immediately exposed. Shaw made a few steps and delivered a nice loft pass, almost the same ball as before to Pogba, to invite Rashford to run on.

Inevitably he left the defender behind, took his touch, which initially seemed a bit too heavy. But that was no explanation for the speed of Rashford to overtake, connect and calmly finish along an upcoming Ben Foster. The evolution of Rashford's game is such that you now expect him to get such a one-on-one chance, which was not necessarily the case 18 months ago.

United offered good opportunities to expand their lead. The final ball from Rashford and Martial lowered them, as did Shaw in the 19th minute when he had the opportunity to pay in Rashford. But Watford, apparently competing with Wolves for the & # 39; best of the rest & # 39; prize this season, was unwilling to submit to a predetermined fate.

They started the second half in first place: with an ambitious attack attempt that had been reversed in their own half. Doucoure was Pogba's midfield match – his touch card must be red and cover the entire field – his team from defense to attack.

Doucoure it was the one who installed Daryl Janmaat at 52 minutes, who beat his shot was widespread. Doucoure also launched the crossfield-ball on the path of Deulofeu at 52 minutes, causing the Catalan to withdraw the ball to Pereyra, whose shot required a decent save from De Gea. Manchester United supporters in Stretford End show their support for Solskjaer in his first game as permanent manager "

] <img id =" i-6cea82c88ec8e493 "src =" https: //i.dailymail. co.uk/1s/2019/03/30/15/11657994-6867909-image-m-3_1553958163184.jpg "height =" 643 "width =" 962 "alt ="

Manchester United supporters in Stretford End in their first game as permanent manager show their support for Solskjaer in his first game as permanent manager

<img id = "i-3e118bc8d5999da8" src = "https: // i .dailymail.co.uk / 1s / 2019/03/30/15 / 11658056-6867909-image-a-4_1553958289655.jpg "height =" 672 "width =" 962 "alt =" The Norwegian turns around and looks at his & # 39; 20 Legend & # 39; banner for the Premier League meeting in Old Trafford "

<img id =" i-3e118bc8d5999da8 "src =" https://i.dailymail.co. uk / 1s / 2019/03/30/15 / 11658056-6867909-image-a-4_1553958289655.jpg "height =" 672 "width =" 962 "alt =" The Norwegian returns ch and look at his & # 39; 20 Legend & # 39; banner for the Premier League meeting in Old Trafford "class =" blkBorder img-share

The Norwegian turns around Both teams of players come together to express their support for the new & # 39; no room & # 39; of the Premier League. for racism & # 39; initiative & # 39;

<img id = "i-225939cffdca7d71" src = "https://ift.tt/2CMQeLR. jpg "height =" 641 "width =" 962 "alt =" Both groups of players come together to express their support for the new & # 39; no room for racism & # 39; initiative of the Premier League class =

<img id = "i -4ee305bb07123336 "src =" https://ift.tt/2V76XAA "height =" 658 "width =" 962 " alt = "Solskjaer barks instructions for Rashford after Manchester United started the procedure at Old Trafford slowly after Manchester United made a slow start to the procedure at Old Trafford" class = "blkBorder img

Phi fell 58 minutes Jones equipment for Hughes, who curled the ball just beside the far post. Then there was the extraordinary 40-yard attack by Kiko Femenia that was almost wrong from Gea on the hour.

Honestly, United was spelled back and lingered. Jesse Lingard and Andreas Pereira were sent to relieve the siege, replacing Ander Herrera and Juan Mata. It didn't make a first impression. Watford energetically continues their ruthless wave.

But 72 minutes later the substations would be good. With literally zero shots even close to goal for 27 minutes since the break, United hit. Again it started with Luke Shaw on the left, releasing Martial, who was on his way to a mazy round through the area, exchanged cards with Rashford, and then played in Pereira. He touched it for Lingard, who drove on and stabbed for Martial.

The Frenchman got entangled with goalkeeper Foster and both went for the ball, but somehow, while half were on the ground, he recovered enough to return the ball home and lift it up. while he took off.

All eyes looked at assistant referee Simon Long, but he judged that Martial had just been behind the ball when Lingard played it and was therefore not offside. They would have to survive the late attack after the 90-minute strike from Doucoure, but would retain the golden luster of the Solskjaer effect.

Sir Alex Ferguson stood in the stands to see Solskjaer & # 39; s permanent government leave for a winning start for their fans <img id = "i-b2ccded692bb4120" src = "https://ift.tt/2CMQ9I3" height = "582" width = "962" alt = "Sir Alex Ferguson stood in the gallery to follow Solskjaer's permanent government and win a victory for their fans"

Sir Alex Ferguson was in the stands to see Solskjaer & # 39; s permanent rule depart for a winning start for their fans

Manchester United, Captain A

<img id = "i-3bf1f5fc69e23dd5" src = "https: //i.dailymail.co.uk/1s/2019/03/30/16/11659782-6867909-image-a-24_1553963171230.jpg "height =" 716 "width =" 962 "alt =" Martial recovered from an injury -knock to start for Manchester United after withdrawing from the French team "

<img id =" i-3bf1f5fc69e23dd5 "src =" https://ift.tt/2Y6ClkB 2019/03/30/16 / 11659782-6867909-image-a-24_1553963171230.jpg "height =" 716 "width =" 962 "alt =" Martial recovered from an injury knock to start for Manchester United after withdrawal from the French team "class =" blkBorder img-share "/

Young man receiving treatment on the beach

<img id = "i-d0fcbd271e94cf4a" src = "https://ift.tt/2NyDsEw 1s / 2019/03/30/16 / 11659840-6867909-image-a-25_1553963374955.jpg "height =" 641 "width =" 962 "alt =" Young man received treatment on his left foot but the Manchester United skipper was able the full match "class =" blkBorder im keep playing

] <img id = "i-42b5db39483d632a" src = "https://ift.tt/2V5iyjR -image-a-30_1553964230986.jpg "height =" 641 "width =" 962 "alt =" <img id = "i-42b5db39483d632a" src = "https://ift.tt/2CqCUN8 03/30/16 / 11660192-6867909-image-a-30_1553964230986.jpg "height =" 641 "width =" 962 "alt =" Martial makes a hearty gesture to the stands the Frenchman celebrates scoring his second half strike "

Martial makes a heart gesture to the stands that the Frenchman celebrates scoring his second half strike [19459003

The former Monaco man lights his house up close and looks at the defenders of Watford in the hope that Martial would miss "

<img id =" i -9d23a28fac2234a0 "src =" https://ift.tt/2V76ZII "height =" 584 "width =" 962 " alt = "The former man of Monaco lights his house up close in the arm of Watford

The former man of Monaco lights the house up close while the defenders of Watford arrive in hope that Martial would miss

<img id = " i-edfa367b8f308701 "src =" https://ift.tt/2CMQgmX "height =" 622 "width =" 962 "alt =" <img id = "i-edfa367b8f308701" src = "https://ift.tt/2V6kLeR 3/30/17 / 11661176-6867909-image-a-61_1553966593847.jpg "height =" 622 "width =" 962 "alt =" <img id = "i-edfa367b8f308701" src = "https: //i.dailymail .co.uk / 1s / 2019/03/30/17 / 11661176-6867909-image-a-61_1553966593847.jpg "height =" 622 "width =" 962 "alt =" Martial suffered a minor injury, so was replaced by Marcos Rojo in the final phase of the Premier League match was replaced by Marcos Rojo in the final phase of the Premier League match

Watford head coach Javi Gracia and his assistant Zigor Aranalde cut

<img id =" i-3def42cfa9d4c690 "src =" https: / /i.dailymail.co.uk/1s/2019/03/30/16/11660530-6867909-image-a-42_1553965105157.jpg "height =" 646 "width =" 962 "alt =" Watford midfielder Abdoulaye Doucoure points to heaven after scoring what turned out to be a comfort goal for the Hornets "class = Watford midfielder Abdoulaye Doucoure points to heaven after scoring what turned into a comfort goal for the Hornets"

Watford midfielder Abdoulaye Doucoure points to heaven after scoring what turned out to be a consolation goal for the Hornets Paul Pogba after the final whistle. an end to the Norwegian first official game "/>

<img id =" i-515839791b382f75 "src =" https://ift.tt/2CMQbQb /11661178-6867909-image-a-58_1553966539548.jpg "height =" 578 ​​"width =" 962 "alt =" Solskjaer shares a hug with Paul Pogba after the last whistle ended the Norwegian first official game "class"

Solskjaer shares a hug with Paul Pogba after the last whistle ended the Norwegian first official game

Source link

[t-baba]

Building Games With Python 3 and Pygame: Part 5

Overview

This is part five of a five-part series of tutorials about making games with Python 3 and PyGame. In part four we detected collisions, responded to the ball hitting various game objects, and created a game menu with custom buttons. 

In this last part, we'll cover diverse topics such as the end game, managing lives and score, sound effects, music, and even a flexible special effects system. For dessert, we'll discuss potential improvements and future directions.

The End Game

Eventually, the game has to end. In this version of Breakout, the game ends in one of two ways: either the player loses all their lives or they hit all the bricks. There is no next level (although it would be easy to add).

Game Over!

The game_over field of the Game class is set to False in the __init__() method of the Game class. The main loop goes round and round until the game_over variable is set to True:

class Game: def __init__(self, caption, width, height, back_image_filename, frame_rate): ... self.game_over = False ... def run(self): while not self.game_over: self.surface.blit(self.background_image, (0, 0)) self.handle_events() self.update() self.draw() pygame.display.update() self.clock.tick(self.frame_rate)

That all happens in the Breakout class in the following cases:

The player clicked the QUIT button from the menu.

The player loses their last life.

The player cleared all the bricks.

def on_quit(button): self.game_over = True self.is_game_running = False def handle_ball_collisions(self): ... # Hit floor if self.ball.top > c.screen_height: self.lives -= 1 if self.lives == 0: self.game_over = True if not self.bricks: self.show_message('YOU WIN!!!', centralized=True) self.is_game_running = False self.game_over = True return def update(self): ... if not self.bricks: self.show_message('YOU WIN!!!', centralized=True) self.is_game_running = False self.game_over = True return

Display the End Game Message

Usually, when the game ends, we don't want the game window to just disappear into thin air. The exception is if you clicked the QUIT button in the menu. When the player loses their last life, Breakout displays the traditional 'GAME OVER!' message, and when the player wins, it displays 'YOU WIN!'

The show_message() function is used in both cases. It displays the text on top of the current screen (the game will be paused) and waits for a few seconds before returning. In the next iteration of the game loop, the check for the game_over field will determine it is True, and the program will exit. 

Here is the show_message() function:

def show_message(self, text, color=colors.WHITE, font_name='Arial', font_size=20, centralized=False): message = TextObject(c.screen_width // 2, c.screen_height // 2, lambda: text, color, font_name, font_size) self.draw() message.draw(self.surface, centralized) pygame.display.update() time.sleep(c.message_duration)

Keeping the High Score Between Games

In this version, I don't keep the high score because there is just one level, and everybody's score will be the same if they clear all the bricks. In general, it can be done locally by storing the high score in a file and then displaying another message if the player broke the high score.

Adding Sound Effects and Music

Games are an audio-visual experience. Most games have sound effects that are short sound bytes that are played when the player kills a monster, finds some treasure, or explodes horribly. Some games have background music too, which contributes to the atmosphere. Breakout has only sound effects, but I'll show you how to play background music in your games.

Sound Effects

You need sound files (similar to image files) to play as sound effects. These files can be in .wav, .mp3, or .ogg formats. Breakout keeps its sound effects in the sound_effects folder:

~/git/pygame-breakout > tree sound_effects/ sound_effects/ ├── brick_hit.wav ├── effect_done.wav ├── level_complete.wav └── paddle_hit.wav

Let's see how these sound effects are loaded and played at the right time. First, to play sound effects (or background music) you need to initialize the sound system of Pygame. That happens in the Game class: pygame.mixer.pre_init(44100, 16, 2, 4096)

Then, in the Breakout class, all the sound effects are loaded from the config into the pygame.mixer.Sound object and are stored in a dictionary:

# In config.py sounds_effects = dict( brick_hit='sound_effects/brick_hit.wav', effect_done='sound_effects/effect_done.wav', paddle_hit='sound_effects/paddle_hit.wav', level_complete='sound_effects/level_complete.wav', ) # In breakout.py class Breakout(Game): def __init__(self): ... self.sound_effects = { name: pygame.mixer.Sound(sound) for name, sound in c.sounds_effects.items()} ...

Now, we can play the sound effects when something interesting happens. For example, when the ball hits a brick:

# Hit brick for brick in self.bricks: edge = intersect(brick, self.ball) if not edge: continue self.sound_effects['brick_hit'].play()

The sound effect plays asynchronously, which means the game doesn't freeze while the sound is playing. Multiple sound effects can be played simultaneously.

Record Your Own Sound Effects and Messages

Recording your sound effects is both easy and rewarding. Unlike visual asset design, it doesn't take much talent. Anybody can say "Kaboom!" or "Boing" or shout "You're dead. Better luck next time!"

I often ask my kids to record sound effects as well as voice messages that accompany text messages like 'YOU WIN!' or 'GAME OVER!' Your imagination is the only limitation.

Playing Background Music

Background music should play constantly. In theory, you can have a very loooooooong sound effect, but a more common approach is simply to play the background music in a loop. Music files can be .wav, .mp3, or .midi format. Here is how it's done:

music = pygame.mixer.music.load('background_music.mp3') pygame.mixer.music.play(-1, 0.0)

You can have only one piece of background music playing at a time. But multiple sound effects can play over the background music. That's what mixing is all about.

Adding Advanced Features

Let's get fancy. Breaking bricks with a ball is cool, but it gets old pretty fast. How about a generic special effects system? We'll develop an extensible system of special effects that are associated with certain bricks and activate when the ball hits the brick. 

Here is the plan. Effects have a lifetime. The effect starts when the brick breaks and ends when the duration of the effect elapses. What happens if the ball hits another special effect brick? In theory, you could have compounding effects, but to simplify things for the initial implementation, the active effect will stop, and the new effect will take its place.

Special Effects System

A special effect can be defined in the most generic way as two functions. The first function activates the effect, and the second function resets it. We want to attach effects to bricks and make it clear to the player which bricks are special, so they can try to hit or avoid them at certain points. 

The following dict from the breakout.py module defines our special effects. Each effect has a name (e.g. long_paddle) and a value, which consists of the color its brick will have as well as the two functions. The functions are defined as lambda functions that take a Game instance, which includes everything a special effect in Breakout may want to change.

special_effects = dict( long_paddle=( colors.ORANGE, lambda g: g.paddle.bounds.inflate_ip( c.paddle_width // 2, 0), lambda g: g.paddle.bounds.inflate_ip( -c.paddle_width // 2, 0)), slow_ball=( colors.AQUAMARINE2, lambda g: g.change_ball_speed(-1), lambda g: g.change_ball_speed(1)), tripple_points=( colors.DARKSEAGREEN4, lambda g: g.set_points_per_brick(3), lambda g: g.set_points_per_brick(1)), extra_life=( colors.GOLD1, lambda g: g.add_life(), lambda g: None))

When the bricks are created, they have a change to be assigned one of the special effects. Here is the code:

def create_bricks(self): w = c.brick_width h = c.brick_height brick_count = c.screen_width // (w + 1) offset_x = (c.screen_width - brick_count * (w + 1)) // 2 bricks = [] for row in range(c.row_count): for col in range(brick_count): effect = None brick_color = c.brick_color index = random.randint(0, 10) if index < len(special_effects): x = list(special_effects.values())[index] brick_color = x[0] effect = x[1:] brick = Brick(offset_x + col * (w + 1), c.offset_y + row * (h + 1), w, h, brick_color, effect) bricks.append(brick) self.objects.append(brick) self.bricks = bricks

The Brick class has an effect field that is usually None, but can get (30% chance) one of the special effects defined above. Note that this code is unaware of what effects are available. It simply gets the effect and the brick color and assigns them if needed. 

In this version of Breakout, I trigger effects only when a brick is hit, but you can imagine other scenarios that could trigger events. The previous effect is reset (if there was one), and then the new effect is launched. The reset function and the effect start time are stored for later.

if brick.special_effect is not None: # Reset previous effect if any if self.reset_effect is not None: self.reset_effect(self) # Trigger special effect self.effect_start_time = datetime.now() brick.special_effect[0](self) # Set current reset effect function self.reset_effect = brick.special_effect[1]

If no new effect was triggered, we still need to reset the current event when it expires. That happens in the update() method. In each frame, the reset function of the current effect was assigned to the reset_effect field. If the time since the current effect started exceeded the effect duration then the reset_effect() function is called and the reset_effect field is set to None (meaning there is no active effect right now).

# Reset special effect if needed if self.reset_effect: elapsed = datetime.now() - self.effect_start_time if elapsed >= timedelta(seconds=c.effect_duration): self.reset_effect(self) self.reset_effect = None

Enlarging the Paddle

The long paddle effect works by inflating the paddle by 50%. Its reset function just resizes it back to normal. The brick color is Orange:

long_paddle=( colors.ORANGE, lambda g: g.paddle.bounds.inflate_ip( c.paddle_width // 2, 0), lambda g: g.paddle.bounds.inflate_ip( -c.paddle_width // 2, 0)),

Slowing the Ball

Another effect that helps with chasing the ball is the slow ball effect, which simply slows the ball speed by one unit. The brick color is Aquamarine.

slow_ball=(colors.AQUAMARINE2, lambda g: g.change_ball_speed(-1), lambda g: g.change_ball_speed(1)),

More Points

If you want big numbers, you'll like the triple points effect that gives you three points for each brick you hit instead of the standard one point. The brick color is dark green.

tripple_points=(colors.DARKSEAGREEN4, lambda g: g.set_points_per_brick(3), lambda g: g.set_points_per_brick(1)),

Extra Lives

Finally, a very helpful effect is the extra lives effect. It just gives you an extra life. No reset is needed really. The brick color is gold.

extra_life=(colors.GOLD1, lambda g: g.add_life(), lambda g: None))

Future Features

There are several natural directions to extend Breakout. If you're interested in trying your hand at adding more capabilities and features, here are some ideas.

Take It to the Next Level

To make Breakout a serious game, it needs levels. Playing just one screen is not enough. At the beginning of each level, you will reset the screen, but keep the score and lives as is. To make the game harder, you can slightly increase the ball speed on each level or add another layer of bricks.

Second Ball

Adding a second ball as a temporary effect is bound to create a lot of chaos. The tricky part here is to treat both balls as equal, regardless of which one was the original. When one ball is gone, the game continues with the single ball that was left. No life is lost.

Persistent High Score

When you have levels with increasing difficulty, the high score becomes a coveted prize. You can keep the high score in a file to persist between games. When a player breaks the high score, you can add a little pizazz or let them write their name (traditionally just three characters).

Bombs and Power-Ups

In the current implementation, all special effects are tied to bricks, but you can add effects (good and bad) that drop from the sky and the player has to collect them or avoid them.

Conclusion

Developing Breakout using Python 3 and Pygame was a super rewarding experience. It's a very powerful combination for 2D games (and 3D games too). If you like Python and want to make your own games, you can't go wrong with Pygame. 

I definitely plan to make more games with Python and Pygame.

Finally, remember we have plenty of Python content available for sale and for study in the Envato Market.

by Gigi Sayfan via Envato Tuts+ Code http://ift.tt/2mN3s2q

[nofomoartworld]

Hyperallergic: A World Unto Himself: The Mysterious Landscapes of Hercules Segers

Hercules Segers, “Ruins of the Abbey of Rijnsburg from the South” (ca. 1625-30), print, line etching printed with tone and highlights in yellow-white, on a dark brown ground, 7 7/8 x 12 9/16 inches, Staatliche Museen zu Berlin, Kupferstichkabinett, Berlin

There is nothing all that unusual about the subjects of Hercules Segers’ prints — landscapes, mostly — but you can’t say the same about his technique or his vision. Segers (1589-1633) was from the newly formed Dutch Republic, where the popularity of landscape was growing. The emphasis of his contemporaries was on extracting plainspoken beauty from familiar Dutch topography, such as damp riverine scenes or clusters of cottages. Segers’ landscapes, by contrast, are experimental, idiosyncratic, mountainous fantasias that, at their weirdest, evoke comparison to coral, ocean sponges, and toad spawn.

Despite the oddity of his prints, Segers seems to have made a reasonable business for himself; records mined from archives show him owning houses and taking wives. The reports of his prints being reduced to soap wrappers was invented by a later biographer, who perhaps could not wrap his mind around how Segers sold any art at all. Though he had no students, Segers in part earned his current standing by inspiring Rembrandt’s improvisational printmaking techniques.

Intaglio printmaking as a medium was a couple hundred years old by the time Segers took it up. It had evolved from engraving — in which lines are made by carving directly into a copper plate with a tool called a burin — to include etching, where lines are made by drawing on wax-coated plates that were then bathed in acid. Where the copper is exposed, the acid does the work of the burin. In either technique, ink is rubbed into the lines of the plate and then transferred to a piece of damp paper under the pressure of a printing press.

Within the etching process, there are any number of variables to manipulate: degree of time in the acid bath; how much ink is left on the surface of the plate before printing; color of the ink, and so on. While Rembrandt worked and reworked his plates through numerous states, he opted for manipulating only a few variables in his etching technique — the inking of the plate and the time in the acid bath, and occasionally the kind of paper he printed on.

Hercules Segers, “Landscape with a Plateau, a River in the Distance” (ca. 1622-25), print, line etching printed in black and pale yellow from two plates, on dark blue prepared paper; unique impression of the second state of three, 5 11/16 x 4 3/16 inches

For Segers, by contrast, all of these variables and then some were in play. He printed on linen and cotton; in colored ink on a light ground; in light, opaque ink on a dark ground. He introduced several colors into a single image through the use of multiple plates, innovated an early form of aquatint, and finished some prints with watercolor. In the current exhibition at New York’s Metropolitan Museum of Art, The Mysterious Landscapes of Hercules Segers, several of the works on view are counterproofs, essentially monoprints made by running freshly printed sheets through the press to transfer the image onto a clean piece of paper. Like so many aspects of Segers’ works, it is unclear whether the counterproofs were a byproduct or an end goal of his efforts.

The results of Segers’ assays are always interesting, if not always conventionally beautiful. Even in his early work, where his subjects are more ordinary, there is a sense of perversity, not with the Modernist goal to épater la bourgeoisie, but in a kind of damn-it-all, Mr. Toad behind-the-wheel sort of way, boop-booping and careering down the road for the sheer pleasure of it. There is no evidence that he cultivated a particularly unusual persona; his unique energy seems to have been all forced through the fine point of his art, which focused it into an intense beam.

Take the “Ruins of Brederode Castle” (1615-1630). Brederode Castle is a medieval structure that had been damaged by Spanish troops during the Dutch Republic’s battle for independence. Purchased by the Dutch government, it was a popular subject for artists, for its dramatic ruins as much as its nationalist overtones.

Segers’ depiction of the scene uneasily combines a manic zeal for depicting every brick with a remarkable indifference to demarcating intersecting planes or making lines plumb. While distant bricks are minutely rendered, flowers in the foreground are depicted as an even row of little black blots that look as if I, a non-artist, drew them, in seventh grade, with a felt tip pen. The branches of the bushes growing out of the ruins are adorned with specks for leaves, which, unstemmed, evoke clouds of moths.

And this is without mentioning his etching technique, which veers away from the pristine professionalism practiced by his contemporaries. Etched lines on the left side waver and blot — the result of what is called, in printmakers’ patois, “foul biting,” the effect of acid leaching through the wax resist on the plate.

The sky is blotchy: are these random smudges or an intentional intimation of typically filthy Dutch weather? Hard to tell, and it doesn’t help that at the upper left there are also light tracings of loops, as if he were trying to coax ink out of a ball point pen, and a patch of crosshatching that looks like a doodle I drew at a meeting, last week, when I was bored.

Hercules Segers, “Mountain Valley with Dead Pine Trees” (ca. 1622-1625), print, line etching printed on light brown ground, varnished; unique impression, 11 x 16 3/16 inches, British Museum, London

It is unimaginable that Segers could have made much of his career if he continued to pursue these errors and experiments in his prints, and his later works do reduce the number if not the force of the peculiarities. In a scene such as “Mountain Valley with Broken Pine Trees,” (1622-25) for instance, the horror vacui that gave us every brick of the ruined Brederode Castle translates into a carpet of stubbly marks, creating the image of a valley with a road winding into it. There is a walled city deep within the space that looks peaceful enough, but the entry to the image is partially barred by a fallen dead pine, which is joined by two more, blasted and leaning. The effect is post-apocalyptic. Tiny figures move about the landscape, barely formed, like larvae.

By manipulating color, Segers can relent a little on the mood of his vision. Two impressions of “Landscape with a Plateau with a River in the Distance” (1622-25) show this. One, printed in dark ink on white paper, feels in places uncomfortably clotted with spongiform lines. The other, using blue-toned paper and two plates — one inked with dark pigment, the other with a pale yellow — transforms the scene into a nighttime valley glimmering with specks of reflected moonlight.

The transformation is like that of a city view between day and night: the former a chaotic accretion of traces of human endeavor; the latter, lifted by the lighting into a state of grace. (You can compare the two, and other similar compositions, in this effortless tool on the Met website.)

In “The Ruins of the Abbey of Rijnsburg,” (1625-30), he’s back to billions of bricks, now draped with luxurious vegetation and set in a sea of deep grass, rendered in short, calligraphic strokes. Nearly invisible within the foliage are two sheep, a dog, and a well-dressed man. Printed in light opaque ink on a dark background, it evokes the lush ornamental language and sense of pictorial flatness of engraved metal. Part of Segers’ process here and in other works involved inscribing fine lines on the plate before he etched it, some of which are still visible, looming like a gridded mist above the building.

In this print, Segers seems to be alluding to the origins of intaglio printmaking in decorative metalwork, which also deployed etching and engraving for its ornament. Yet, as the curators note, the aspirations and affinities of these prints are most of all to painting. That Segers was also an accomplished painter (several fine examples of his oils are on view) suggests that his goal was not to make mock-paintings, but rather to hybridize his graphic and painterly endeavors.

“The Mossy Tree” (1625-30) exemplifies this. A unique impression, it is printed in green ink on colored paper and hand-painted. Mossy lines drizzle from the frame of the tree, obtaining a kind of succulent mark-making uncommon in prints of this period. At the base of the tree, however, where in a painting the roots would sink into soil and the solidity of paint, the marks dissipate into an assortment of squiggles and dots, the tools of suggestion of the graphic artist.

Hercules Segers, “The Mossy Tree” (ca. 1625-30), lift-ground etching printed in green, on a light pink ground, colored with brush; unique impression, 6 5/8 x 3 7/8 inches, Rijksmuseum, Amsterdam; on loan from the City of Amsterdam, collection Michiel Hinloopen (1619–1708), 1885

The paintings and prints are thoughtfully installed in the Met’s dedicated rooms for works on paper. While one wishes for a magnifying glass, a helpful display case explains some of the intricacies of Segers’ technique, and a video at the entrance explains the artist’s significance. Do not miss this. It sets Segers’ prints in motion in the manner of Terry Gilliam’s cut-out animations for Monty Python, with a voiceover by that guy in a grad seminar who is capable of making even banal utterances sound like they are rolled in gold leaf. (He turns out to be John Malkovich.)

The underlying thrill of this show is the extent to which Segers’ idiosyncrasy challenges our expectations of his time of history. From our postmodern perspective, it is easy to silently root for his eccentric explorations. After all, even Rembrandt, who acquired one of Segers’ plates, succumbed to the urge to “fix” it, adjusting the scale of two figures in it to his liking and subduing some of the more coral-like texture in the trees.

Yet as much as Segers’ work confirms our understanding of the norm, it opens up the possibility of deviance from — even defiance of — the norm, not only in Segers, but those who collected him. Historical accounts by nature have to normalize in order fill in gaps, but Segers reminds us that the most simple explanation is not always the right one.

The Mysterious Landscapes of Hercules Segers continues  at the Metropolitan Museum of Art (1000 Fifth Avenue, Upper East Side, Manhattan) through May 21.

The post A World Unto Himself: The Mysterious Landscapes of Hercules Segers appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2pQVjgI via IFTTT