 Rather than being embedded in horizontal (or vertical) jaws, teeth completely encircle the oral cavity. Extreme examples may occur in conjunction with Flower Mouth. In fiction, this feature is often a trait of monstrous characters, and may offer a convenient visual shorthand implying that a creature is a parasite of some kind.
On film, it's often a makeup technique used to make Humanoid Aliens of the Rubber Forehead variety appear more alien by suggesting Bizarre Alien Biology through its outward appearance. Such an orifice could also appear on a radically non-humanoid creature. Common in horror, where it may convey Eldritch Abomination implications.
A common feature of Sand Worms or an Ant Lion Monster, and an occasional Cthulhumanoid may sport one. Does not cover insect-like mandibles.
Often overlaps with More Teeth than the Osmond Family. Sub-Trope to Monster Mouth.
Examples:
- In Bleach, Aaroniero Arrururie's Zanpakuto looks like a mutant sea anemone with such a mouth. When he goes One-Winged Angel, we can see that his gigantic octopus-like lower body has a gargantuan lamprey mouth complete with rows of teeth in the middle of his body.
- The Angel Sandalphon from Neon Genesis Evangelion, being essentially a monstrous version of an Anomalocaris, has this kind of mouth.
- The USBM from Bio Meat: Nectar.
- Shalltear's true form in Overlord has a mouth like this with a single row of sharp fangs and a long protruding tongue. One bandit even calls her a lamprey.
- A pretty common type of maw for the monstrous shapeshifters of Parasyte to bite peoples' heads off with.
- Superman villain Parasite has a mouth like this in some depictions.
- The Sandlings in White Sand have round mouth full of several rings of inwards-pointing teeth.
- Wonder Woman (1987): The scavenger worms on Hope's End, which are designed as a shout out to the Sarlacc, have round mouths ringed with rows of sharp teeth and a set of fourteen crab-like arms each ending in a single claw reaching out to grasp at food from just behind their "lips".
- Dilbert on at least two occasions. First there was a coworker named Floyd Remora who attached himself to Dilbert's back and fed off his success. The Pointy-Haired Boss briefly hired a sycophant with a deformed lamprey-like mouth.
- In How to Train Your Dragon and the TV spinoff, the Whispering Death is a breed of dragon with this kind of mouth.
- The underwater monster guarding the Armor Impenetrable in Kubo and the Two Strings has an absolutely huge one.
- In Predator films, the alien hunters have the pedipalps, although the mouth beneath them isn't actually ring-shaped.
- In Dreamcatcher, the worm-creatures' mouths resemble a lamprey's that's been folded Vagina Dentata-style. As do the controlling aliens' entire upper bodies.
- In Pirates of the Caribbean: Dead Man's Chest, the Kraken has a mouth like this, with a full ring of multi-jointed pedipalps surrounding it.
- Coneheads: Beldar is revealed as having this during a dental exam.
- Star Wars
- The Sarlacc from Return of the Jedi has the look, particularly in the original edition before extra tentacles and a maw were added in digitally.
- The Mynocks in The Empire Strikes Back used these to attach to ships.
- The Force Awakens continues the tradition of using this trope, in this case for the rathtars.
- The "Driller" from Transformers: Dark of the Moon has a lamprey-like mouth on its main body and several of its appendages.
- In The Cabin in the Woods The Ballerina Dentata / Sugar Plum Fairy's entire face is one of these.
- Star Trek (2009): The creature Kirk runs away from on the icy world he's marooned on would probably qualify.
- The mechanical shark from James and the Giant Peach would count.
- The Carnictus worms from King Kong (2005) that eat the cook had mouths like this.
- Jeff, the subway worm from Men in Black II.
- A couple of creatures from Evolution (a carnivorous "tree" and a large green bug) have mouths like this.
- The Reapers from Blade II film double up on this trope, having one set of lamprey mouth teeth on their tongues and another set surrounding them.
- A many-limbed critter screams straight into the camera with one of these in Silent Hill: Revelation 3D.
- 10 Cloverfield Lane: The aliens revealed at the very end of the film are, or just use for hunting, large, scaly dog-like creatures with these instead of heads.
- Apophis in Gods of Egypt has a truly gargantuan one.
- Deep Rising: The monster, a giant mutant cephalopod, has a main mouth that is just a giant opening littered with numerous backwards-facing teeth.
- The sand worms in both adaptations of Dune are depicted this way. The 1984 one has pedipalps parting to reveal a ring-shaped, saw-toothed maw, and that example has influenced most of the following Sand Worm designs.
- Deltora Quest has flesh-eating plants known as Grippers. From above, they appear to be small ferns, or clumps of grass. However, buried underground, they have a huge, funnel-like mouth, with rows of sharp teeth. When unsuspecting prey walk over the top of them, the ground parts as they open their mouths, and the prey falls in to be eaten.
- Taxxons from Animorphs have these.
- Sandworms from Frank Herbert's Dune series have massive ones, arranged in three large "jaws" that can open wide to swallow entire Spice Harvesters.
- Pieces of their teeth are used as blades by the Fremen, who call them crysknives.
- David Drake's The Lord of the Isles features one of these at one point. It's a magical creation made entirely of wood.
- In Iron Council, the many-armed creature that menaces Hiddentown has a lamprey mouth on the end of each tentacle.
- In the previous novel The Scar, the magical statuette used by Silas Fennec has a lamprey mouth.
- The Chtorran worms in The War Against the Chtorr. Their teeth encircle their mouth, curving inwards to draw the prey into their body. Once they've taken a bite, they can't stop or they'll choke to death.
- In Petty Pewter Gods, one of the trio of double-ugly thugs in the Godoroth pantheon has a mouth like this.
- The Edge Chronicles has logworms.◊
- One species of needle monsters in Eden Green has a long neck ending in a lamprey mouth, which they use to pick up and shred humans.
- Round mouths are the norm for animal life on Longtunnel, a cave-dominated world from the Humanx Commonwealth 'Verse. Naturally, that means that most of its predators have a Lamprey Mouth, although spore-feeders and some insectivores avert this by having no teeth.
- Chaugnar Faughn, one of Frank Belknap Long's contributions to the Cthulhu Mythos, has an elephant's trunk that ends in one of these.
- The X-Files: Flukeman had a lamprey mouth that incorporated features of a tapeworm's scolex.
- Ironically, flukes are in the class Trematoda and don't have a scolex (they hang on to their host with one or two muscular suckers). Scully identified the parasite she found inside the Russian sailor as a "Turbellaria"... which is, in fact, a flatworm, but they don't have a scolex either! The only flatworms that have a scolex are tapeworms, which are in the class Cestoda. As Phil Farrand, author of "The Nitpicker's Guide for X-Philes" might point out, "Tapeman" doesn't sound nearly as cool as "Flukeman". This was hardly the only fluke in this episode, but the Nitpicker's Guide is a more appropriate place for those.
- Earth 2: The Terrians had this trait, too.
- The Salt Vampire◊ in the Star Trek: The Original Series episode "The Man Trap" has one of these.
- Star Trek: The Next Generation and other modern Trek series have the Nausicaans, who have appeared in every series except the original series and were inspired by Predator. Their mouth-structures are a slightly more humanoid version of this trope.
- Star Trek: Voyager episode "Nemesis" featured the very similar-looking but even more pronounced example in the Kradin.
- Blake's 7: The worm-like giant predatory creatures on Terminal which Vila referred to figuratively as "snakes" had mouths like this.
- The leviathan from Supernatural have mouths like this.
- Also from Supernatural, "The Kids are Alright" (3x02) the Changeling has this type of mouth.
- The Lebensaugers from Grimm.
- The Hellbugs from Defiance.
- Mr. Sweet from Doctor Who episode "The Crimson Horror". Also true of the Mire from "The Girl Who Died".
- The giant pre-Cambrian worms from Primeval had this sort of mouth, most apparent when one's head is pinned under a photocopier's plate and a bunch of copies of its maw are printed out.
- The "Bathing Beauty" teaser for American Horror Story: Roanoke features a woman looking into a bathtub, only for her head to turn around and reveal this in place of her face.
- On Stranger Things, the mouth of a Demogorgon has both an inner tooth-ringed gullet and five encircling petal-like flaps lined with teeth that can close over it.
- The "Darkside" table of Balls of Steel includes a squat red alien with a Lamprey Mouth and More Teeth than the Osmond Family.
- The Leapers in Scared Stiff have these, most visibly when they Eat the Camera.
- Dungeons & Dragons:
- Older editions depicted the purple worm with this sort of mouth.
- The otyugh is a monster with a mouth on its torso, and some depictions give it this type of mouth.
 Its clamp-like tail picks up victims and stuffs them into the former.
- Kopru had mouths like this in their original illustration from the adventure X1: Isle of Dread.
- Mind Flayers, also known as Illithid, are stated to sport these, but artwork rarely shows their mouths.
- Shadowrun's rockworm, an Awakened concrete-eating giant earthworm, is depicted with this sort of mouth.
- The action figure of Mantenna from Masters of the Universe. The original toy had a lamprey mouth, although for the cartoons Mantenna was given a watered down, more goofy and less menacing look.
- BIONICLE:
- Sea Squids, but Depending on the Artist, they may be shown with "regular" mouths.
- The Visorak (again, depending on the artist), whose teeth come in the form of overlapping circular saws.
- Land worms, recurring monsters from the Final Fantasy series, have this.
- The Pokémon evolution line Tynamo, Eelektrik and Eelektross. While Tynamo looks like a leech, its evolutions Eelektrik and Eelektross resemble lampreys and they mainly attack by discharging electricity while attaching to their victim with their lamprey mouth.
- Spore has the "Leeyotch", "Gnathognasher" and "Saginaughty" mouth parts which vaguely resemble the mouths of lampreys and other animals with radial, jawless mouths.
- The squid from Minecraft has one of these. It's much toothier than would be realistically expected, although the squid itself is completely harmless.
- A couple in the Resident Evil games:
- The final mutation of "G" (formerly William Birkin) in Resident Evil 2.
- The Grave Digger, a huge, mutated worm from Resident Evil 3, has a mouth like this, along with four giant teeth jutting out along the edges of its maw.
- The Ooze from Resident Evil: Revelations.
- The Rasklapanje from Resident Evil 6.
- Deepstalkers from Dragon Age: Origins are small, poison-spitting dinosaurs that utilize this trope.
- Barnacles from the Half-Life series, combined with Nested Mouths in Half-Life 2
- Promos for the Defiance online game feature a giant monster with a lamprey mouth on the top of its body.
- Brütal Legend has the Lamprey boss, though the mouth is shaped more like a vagina.
- Awesomenauts has the Entins, who, despite otherwise being space caterpillars, sport these mouths.
- It also features more traditional Sand Worms on planet Sorona.
 This mouth is normally concealed under the Crawlers robes and tentacles, but becomes visible whenever it lunges at the player character.
- The Pols Voice from The Legend of Zelda were already plenty creepy enough for their sheer "otherness", being a limbless, bloblike creature with a few recognizably lagomorphic features like long ears and whiskers. Their 3-D appearance in The Legend of Zelda: Phantom Hourglass ups the creepiness by revealing that their entire underside consists of a huge mouth filled with sharp, concentric teeth.
- The Great Serpent of Ronka, from Final Fantasy XIV, is a tiny little tsuchinoko, and therefore has one of these. It's never seen eating, just wriggling and screeing adorably.
- Under her ratty long hair, it's revealed that the Urashima Woman from Spirit Hunter: NG has a giant lamprey-like mouth, with multiple sets of teeth beneath the first circle of them. This emphasizes her connection to the lake and her death by drowning.
 He's defeated after he tries this on The Mayor of Townsville, whose brain is a more perfect vacuum than the Leech's.
- Scraplets from Transformers: Prime, essentially metal-eating flying piranhas. They look cute until they see metal, then they open their mouths and reveal rings upon rings of churning, mechanical teeth.
- Futurama:
- In the story "Bender's Game", the Tunneling Horror has a lamprey mouth in which concentric rings of teeth rotate in opposite directions.
- Leela's father, a mutant, has a normal-shaped mouth but teeth arranged in a ring.
- The shape-shifting predator from "Murder on the Planet Express" gobbles its victims whole with an extensible example of this trope.
- Found in lampreys, obviously.
- Also in some extinct fish taxa, before jaws evolved and proved to be more efficient for most feeding strategies.
- Subverted by the tapeworm's scolex, which only looks like a mouth, and functions, instead, more like an anchor.
- Velvet Worms have teeth arranged in this format.
- Leeches have a watered-down version of these. Still good enough for blood-sucking, though.
- Sea urchins have teeth arranged in a ring on their undersides, although they're blunt grinding teeth rather than pointed.
- The cookie-cutter shark, while it has actual jaws, shifts them into a position resembling this in order to bite perfectly round chunks of flesh from its prey.
- Anomalocaris, largest predator of the Burgess Shale fauna, had a tough constricting ring for a mouth, lined with bony prongs.


CharactersListModule(fragment: CharactersListFragment)
Class that contributes to the object graph CharactersListComponent.
See Also
Module


Initial Betting Line Set For Georgia-LSU Game
by Andrew McCartyOver the weekend, the Georgia Bulldogs clinched a spot in the SEC title game with a win over Auburn. Kirby Smart and company close out the regular season with Texas A&M and Georgia Tech before taking the field for the conference title.
Their opponent isn’t set in stone just yet, but it looks like the LSU Tigers will emerge from the SEC West.
LSU faces off against Arkansas and Texas A&M over the final two weeks of the regular season. If the tigers win those games, Ed Orgeron’s team will be in the SEC title game.
So, what would happen between LSU and Georgia? Well, Caesar’s released an early line that suggests the Tigers will emerge victorious.
According to Caesars, LSU would open as a 3.5-point favorite over Georgia.
LSU would have to lose its final two games to miss out on the conference title game after taking care of Alabama earlier this season. It’s safe to say the Tigers are a near-lock to face the Bulldogs in the title game.
LSU quarterback Joe Burrow is firmly in the Heisman race and is being talked about as a possible No. 1 pick in the upcoming draft. He won’t have an easy path to the College Football Playoff, though, as the Bulldogs boast one of the best defenses in college football.


Fleet on Rails
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Zoe & Molly: Choo Goo Release (0.1.0)
- Category
- zoe-and-molly
- Timestamp
- Sun, 27 Nov 2016
So I made my first real release of Zoe & Molly on GitHub, specifically Release 0.1.0 "Choo Goo." I call it that because there's a lot of slime and also a train minigame. Please keep in mind this is a rough draft of a very incomplete game, an early sneak peak. Here's the official release video:
Zoe & Molly is a game based off of my dreams, I encourage you to read about that in my first blog post about Zoe & Molly.
I try to Tweet regularly to the #zoemolly Hashtag on Twitter.
How can I play?
Checkout
the Zoe & Molly v0.1.0 download page
and follow the instructions in the README.md
/on the page there.
Hows it made?
I have a lot of details on that on the Zoe & Molly GitHub repo itself, but in short, I use a game engine called OHRRPGCE.
The train minigame
I had to introduce some scripts in this release, namely for the minigame. The minigame is a simple board game where you roll the die and you get to move that many spaces from your current position in any direction. However, you have a limited number of die rolls. You collect points by ending your turn on a dot/green tile, thus collecting that tile's point. You win by making it to the goal (yellow tile) with points, on your last roll.
end roll on a dot to gain point. play until out of rolls, but if out of rolls & you're not on the goal square, you lose/no points #zoemolly pic.twitter.com/cMWBhH91d1
— SpaceSlimeComplexity (@LilySeabreeze) November 24, 2016
The script that makes the magic happen is scripts/trainy.hss
, which is written in
HamsterSpeak (AKA "plotscripting"), something specific to
OHRRPGCE.
Some interesting bits about HamsterSpeak:
- There are no lists or arrays, just global variables #0 to #16383. I used a "fake array" to accomplish keeping the move history in the minigame. This method is documented in the OHRRPGCE Wiki's "Fake Arrays" article
- Likewise, strings are stored like globals, whereas a string is created with a manually specified integer identifier, and is later referenced by such.
th i s
is the same asthis
If you wanna read more about HamsterSpeak, be sure to checkout the Official Dictionary of Plotscripting Commands.
I also wanted to thank the generous people in the OHRRPGCE IRC channel (#slimesalad on Espernet), including the creator Bob the Hamster, SDHawk, and Harlock199X for their input and assistance. Some funny tricks used in this script:
- To see if the goal is achieved I check if the train is over a "vehicle type a" tile (if the player is out of rolls)
- To gain points, the train moves under dot NPCs. Then, a check at the spot of the train NPC is done, for the second NPC result in that area, whereas 0 is the backmost and >0 is increasingly foremost.
- The way spaces you're allowed to move is calculated by keeping track of directions/ keys pressed, so that if the opposite is pressed, the history can be undone and more movement regained. The spaces are stored in a series of global variables with a "fake array" (as mentioned above). Once you return to the original roll value, the history is just reset (this solved some bug, I can't remember what...)
I also have a secret/alternate spriteset for this, that includes a Burlington Northern SD45 as the train/player's piece. I plan to use this in a later part of the game (I'll probably touch up later, too).
Where to go from here
I've been thinking what I'm going to do with that Daisy character, if I wanna keep the small walkabout characters for battle, or if I wanna go nuts and make Daisy the "Zoe" character, and workon battle animations for both Zoe and Molly.
I need to redo a lot of the writing (at least to have characters talk in a more interesting way than "I AM THING FOR THIS PURPOSE),
I'd really like to make some cutscenes and an intro. Start letting people load and see a title screen.
I'd also like to make sure I'm intelligently managing my palettes more. The colors in the crayon world need a real palette.
Other stuff I wanna touch up on before I make a more official "demo" is better sound effects, bug fixes, add cutscenes (namely intro cutscene), add title screen, allow people to load saves, polish the minigame.
Eventually make an portable computer that's like a gameboy but takes floppies, so you can save on the fly. But, I want to make it so in some parts, someone steals your floppy so you can't save.
Make slime monsters appear once Zoe joins (in random encounters; by tag). Attacking slime with slime either heals or makes slimes bigger; hurting slimes splits them into smaller pieces until they die.


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My thoughts on software development
I currently serve as VP of Product Management, Android Developer at Google. I previously led at GitHub as the SVP of Product. I love to think and write about open source, evolution of the SDLC, and the future of distributed teams management.


A spectre is haunting Europe — the spectre of communism.
Guess the most communist number
Enter a number and click submit


Heart Rate Monitor
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Try again. Clean the sensor, then attach Gear snugly to top or under side of wrist, not against the bone. Be still and quiet.


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He has green eyes and blue-violet brown hair. He wears clothes with the symbols of team R.


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carp is a sequencer for chord arpeggios on the korg nts-1. it allows you to harness the arp features (chords / arp patterrns) using sysex commands from the browser.
instructions:
first set the tempo on nts-1 device. hold "arp" and adjust "b" to the bpm. now, set "bpm" in this window to the corresponding tempo (or 2x that).
set the nts-1 into hold mode by holding down "arp" until it starts blinking.
enter chords into carp. enter the chord, followed by the arp pattern in parentheses. for example, a Bb minor chord with up-down arpeggio would be Bbmin(ud).
press "start". it will play the corresponding chord and corresponding arp using sysex commands. you can modify the parameteres you set in realtime.
to stop, press "stop" in carp and then hold down the "arp" button to deactivate hold on the nts-1.
|
allowed chords:
|
allowed arps:
|
example (using chrome on android):


LearningThree.js
- Performance: Merging Geometry (based on three.js
example
)
demo:
2000 not merged
-
3000 not merged
-
50000 merged
-
120000 merged


A Sinatra app that takes a UK address string and attempts to parse it into its constituent parts.
Enter an address below, and click Submit
Simply POST your address string like so (using curl):
curl --data "address=10 Downing Street, London, SW1A 2AA" https://sorting-office.openaddressesuk.org/address
If you'd like to submit the address you're using to the OpenAddresses project, then set contribute=true
like so:
curl --data "address=10 Downing Street, London, SW1A 2AA&contribute=true" https://sorting-office.openaddressesuk.org/address
Please make sure you check with your users first! And be sure not to violate others' intellectual property or privacy rights with your submission.
You'll get the following response in JSON format:
{ "saon": null, "paon": "10", "street": { "name": "Downing Street", "url": "http://alpha.openaddressesuk.org/streets/PXxwpD" } "locality": null, "town": { "name": "London", "url": "https://alpha.openaddressesuk.org/towns/4194LO" } "postcode": { "name": "SW1A 2AA", "url": "https://alpha.openaddressesuk.org/postcodes/EMCYvD" } "provenance": { "activity": { "executed_at": "2015-01-21T16:18:32+00:00", "processing_scripts": "https://github.com/OpenAddressesUK/sorting_office", "derived_from": [ { "type": "userInput", "input": "10 Downing Street, London, SW1A 2AA", "inputted_at": "2015-01-21T16:18:32+00:00", "processing_script": "https://github.com/OpenAddressesUK/sorting_office/tree/7dd23cb19709680646a20dddfeb18b53ea4346e2/lib/sorting_office/address.rb" }, { "type": "Source", "urls": [ "http://alpha.openaddressesuk.org/postcodes/Uxm2vc" ], "downloaded_at": "2015-01-21T16:18:32+00:00", "processing_script": "https://github.com/OpenAddressesUK/sorting_office/tree/7dd23cb19709680646a20dddfeb18b53ea4346e2/lib/models/postcode.rb" }, { "type": "Source", "urls": [ "http://alpha.openaddressesuk.org/towns/qyHZe2" ], "downloaded_at": "2015-01-21T16:18:32+00:00", "processing_script": "https://github.com/OpenAddressesUK/sorting_office/tree/7dd23cb19709680646a20dddfeb18b53ea4346e2/lib/models/town.rb" }, { "type": "Source", "urls": [ "http://alpha.openaddressesuk.org/streets/Gq5142" ], "downloaded_at": "2015-01-21T16:18:32+00:00", "processing_script": "https://github.com/OpenAddressesUK/sorting_office/tree/7dd23cb19709680646a20dddfeb18b53ea4346e2/lib/models/street.rb" } ] } } }
The only caveat is that you must provide a valid postcode with your request, otherwise the service won't be able to calculate the other address parts. If a postcode is missing or invalid, the service will return a 400
error code and the following JSON:
{ "error": "We couldn't detect a real postcode in your address. Please resubmit with a valid postcode." }
If you’d rather not see the provenance data, you can add noprov=true
to your request, like so:
curl --data "address=10 Downing Street, London, SW1A 2AA&noprov=true" https://sorting-office.openaddressesuk.org/address
If you'd like to use Sorting Office client-side in a web application, take a look at the code which powers the demo
The address format returned in the JSON closely mirrors the BS7666 standard for addresses. It contains the following fields where name
is the name of the resource, and url
is the Open Addresses URL for that resource:
saon
: The Secondary Addressable Object - this is usually something like a flat number or any other sub unitpaon
: The Primary Addressable Object - this is usually a house number or a building namestreet
: The street where the building office resideslocality
: Sometimes, an address is associated with a locality, which identifies the address with a smaller geographical area than the Post Town (see below).town
: This is the Post Town where the address is located. This usually corresponds to the sorting office that handles the mail for the address, as may take in many smaller towns, urban districts and villages (see locality). This is always returned.postcode
: This is the Postcode for the address. Currently a postcode is needed for Sorting Office to begin parsing the address, and is always returned.We are considering how to evolve this format to suit the needs of our roadmap. You can comment on this feature here: https://github.com/OpenAddressesUK/roadmap/issues/66
We know that there are lots of edge cases with addresses, and we know that we might not have caught 100% of them. If there's anything you notice, please let us know, or better still open a pull request to fix it!.
This was built by the team at OpenAddresses. To find out more, visit the project website.


InnerShadow QML Type
Generates a colorized and blurred shadow inside the source. More...
| Import Statement: | import QtGraphicalEffects 1.0 |
| Since: | QtGraphicalEffects 1.0 |
| Inherits: |
Properties
- cached : bool
- color : color
- fast : bool
- horizontalOffset : real
- radius : real
- samples : int
- source : variant
- spread : real
- verticalOffset : real
Detailed Description
By default the effect produces a high quality shadow image, thus the rendering speed of the shadow might not be the highest possible. The rendering speed is reduced especially if the shadow edges are heavily softened. For use cases that require faster rendering speed and for which the highest possible visual quality is not necessary, property fast can be set to true.
| Source | Effect applied |
|---|---|
Note: This effect is available when running with OpenGL.
Example
The following example shows how to apply the effect.
import QtQuick 2.0 import QtGraphicalEffects 1.0 Item { width: 300 height: 300 Rectangle { anchors.fill: parent } Image { id: butterfly source: "images/butterfly.png" sourceSize: Qt.size(parent.width, parent.height) smooth: true visible: false } InnerShadow { anchors.fill: butterfly radius: 8.0 samples: 16 horizontalOffset: -3 verticalOffset: 3 color: "#b0000000" source: butterfly } }
Property Documentation
This property allows the effect output pixels to be cached in order to improve the rendering performance. Every time the source or effect properties are changed, the pixels in the cache must be updated. Memory consumption is increased, because an extra buffer of memory is required for storing the effect output.
It is recommended to disable the cache when the source or the effect properties are animated.
By default, the property is set to false
.
This property defines the RGBA color value which is used for the shadow.
By default, the property is set to "black"
.
| Output examples with different color values | ||
|---|---|---|
| color: #000000 | color: #ffffff | color: #ff0000 |
| radius: 16 | radius: 16 | radius: 16 |
| samples: 24 | samples: 24 | samples: 24 |
| horizontalOffset: 0 | horizontalOffset: 0 | horizontalOffset: 0 |
| verticalOffset: 0 | verticalOffset: 0 | verticalOffset: 0 |
| spread: 0.2 | spread: 0.2 | spread: 0.2 |
This property selects the blurring algorithm that is used to produce the softness for the effect. Setting this to true enables fast algorithm, setting value to false produces higher quality result.
By default, the property is set to false
.
| Output examples with different fast values | ||
|---|---|---|
| fast: false | fast: true | |
| radius: 16 | radius: 16 | |
| samples: 24 | samples: 24 | |
| color: #000000 | color: #000000 | |
| horizontalOffset: 0 | horizontalOffset: 0 | |
| verticalOffset: 0 | verticalOffset: 0 | |
| spread: 0.2 | spread: 0.2 |
HorizontalOffset and verticalOffset properties define the offset for the rendered shadow compared to the InnerShadow item position. Often, the InnerShadow item is anchored so that it fills the source element. In this case, if the HorizontalOffset and verticalOffset properties are set to 0, the shadow is rendered fully inside the source item. By changing the offset properties, the shadow can be positioned relatively to the source item.
The values range from -inf to inf. By default, the properties are set to 0
.
| Output examples with different horizontalOffset values | ||
|---|---|---|
| horizontalOffset: -20 | horizontalOffset: 0 | horizontalOffset: 20 |
| radius: 16 | radius: 16 | radius: 16 |
| samples: 24 | samples: 24 | samples: 24 |
| color: #000000 | color: #000000 | color: #000000 |
| verticalOffset: 0 | verticalOffset: 0 | verticalOffset: 0 |
| spread: 0 | spread: 0 | spread: 0 |
Radius defines the softness of the shadow. A larger radius causes the edges of the shadow to appear more blurry.
Depending on the radius value, value of the samples should be set to sufficiently large to ensure the visual quality.
The value ranges from 0.0 (no blur) to inf. By default, the property is set to 0.0
(no blur).
| Output examples with different radius values | ||
|---|---|---|
| radius: 0 | radius: 6 | radius: 12 |
| samples: 24 | samples: 24 | samples: 24 |
| color: #000000 | color: #000000 | color: #000000 |
| horizontalOffset: 0 | horizontalOffset: 0 | horizontalOffset: 0 |
| verticalOffset: 0 | verticalOffset: 0 | verticalOffset: 0 |
| spread: 0 | spread: 0 | spread: 0 |
This property defines how many samples are taken per pixel when edge softening blur calculation is done. Larger value produces better quality, but is slower to render.
Ideally, this value should be twice as large as the highest required radius value, for example, if the radius is animated between 0.0 and 4.0, samples should be set to 8.
The value ranges from 0 to 32. By default, the property is set to 0
.
This property is not intended to be animated. Changing this property may cause the underlying OpenGL shaders to be recompiled.
When fast property is set to true, this property has no effect.
source : variant |
This property defines the source item that is going to be used as the source for the generated shadow.
Note: It is not supported to let the effect include itself, for instance by setting source to the effect's parent.
This property defines how large part of the shadow color is strenghtened near the source edges.
The value ranges from 0.0 to 1.0. By default, the property is set to 0.5
.
| Output examples with different spread values | ||
|---|---|---|
| spread: 0.0 | spread: 0.3 | spread: 0.5 |
| radius: 16 | radius: 16 | radius: 16 |
| samples: 24 | samples: 24 | samples: 24 |
| color: #000000 | color: #000000 | color: #000000 |
| horizontalOffset: 0 | horizontalOffset: 0 | horizontalOffset: 0 |
| verticalOffset: 0 | verticalOffset: 0 | verticalOffset: 0 |
HorizontalOffset and verticalOffset properties define the offset for the rendered shadow compared to the InnerShadow item position. Often, the InnerShadow item is anchored so that it fills the source element. In this case, if the HorizontalOffset and verticalOffset properties are set to 0, the shadow is rendered fully inside the source item. By changing the offset properties, the shadow can be positioned relatively to the source item.
The values range from -inf to inf. By default, the properties are set to 0
.
| Output examples with different horizontalOffset values | ||
|---|---|---|
| horizontalOffset: -20 | horizontalOffset: 0 | horizontalOffset: 20 |
| radius: 16 | radius: 16 | radius: 16 |
| samples: 24 | samples: 24 | samples: 24 |
| color: #000000 | color: #000000 | color: #000000 |
| verticalOffset: 0 | verticalOffset: 0 | verticalOffset: 0 |
| spread: 0 | spread: 0 | spread: 0 |


Overall Simulation Control¶
We can now use our collection of classes to generate some more usable results. We can perform a number of simulation runs and evaluate the long-term prospects for the Martingale betting system. We want to know a few things about the game:
How long can we play with a given budget? In other words, how many spins before we’ve lost our stake. The expected value is 38, based on an analysis of the payouts for simple outside (“even money”) bets.
How much we can realistically hope to win? How large a streak can we hope for? How far ahead can we hope to get before we should quit?
In the Simulation Analysis section, we’ll look at general features of simulation.
We’ll look at the resulting statistical data in Statistical Summary.
This will lead us to the details in Simulator Design. We’ll note that
the details of the simulator require some changes to the definition
of the Player
class.
We’ll enumerate all of this chapter’s deliverables in Simulation Control Deliverables.
Simulation Analysis¶
A Simulator
class will be allocated a number of responsibilities:
Simulate a number of sessions of play, saving the maximum stake and length of each session.
For each session: initialize the
Player
and :class: Game objects, cycle the game a number of times, collect the size of thePlayer
object’s stake after each cycle.Write a final summary of the results.
We’ll look at several topics:
Simulation Terms will formalize some definitions.
Simulation Control will look at the overall simulation process.
We’ll look at how we create a new player in Player Initialization.
The most important thing is gather performance data. We’ll look at this in Player Interrogation.
Simulation Terms¶
We’ll try to stick to the following definitions. This will help structure our data gathering and analysis.
cycle
A single cycle of betting and bet resolution. This depends on a single random event: a spin of the wheel or a throw of the dice. Also known as a round of play.
session
One or more cycles. The session begins with a player having their full stake. A session ends when the play elects to leave or can no longer participate. A player may elect to leave because of elapsed time (typically 250 cycles), or they have won a statistically significant amount. A player can no longer participate when their stake is too small to make the minimum bet for the table.
game
Some games have intermediate groupings of events between an individual cycles and an entire session. As cards are dealt in Blackjack, some additional betting opportunities can appear. Similarly, a single game of Craps can involve an indefinite number of dice rolls, each of which offers new betting opportunities.
Simulation Control¶
The sequence of operations for this game simulator looks like this.
Controlling the Simulation
Empty List of Maxima. Create an empty maxima list. This is the maximum stake at the end of each session.
Empty List of Durations. Create an empty durations list. This is the duration of each session, measured in the number of cycles of play before the player withdrew or ran out of money.
For All Sessions. For each of simulated sessions:
Empty List of Stake Details. Create an empty list to hold the history of stake values for this session. This is raw data that we will summarize into two metrics for the session: maximum stake and duration. We could also have two simple variables to record the maximum stake and count the number of spins for the duration. However, the list allows us to gather other statistics, like maximum win or maximum loss.
While The Player Is Active.
Play One Cycle. Play one cycle of the game. See the definition in Roulette Game Class.
Save Outcomes. Save the player’s current stake in the list of stake values for this session. An alternative is to update the maximum to be the larger of the current stake and the maximum, and increment the duration.
Get Maximum. Get the maximum stake from the list of stake values. Save the maximum stake metric in the maxima list.
Get Duration. Get the length of the list of stake values. Save the duration metric in the durations list. Durations less than the maximum mean the strategy went bust.
Statistical Description of Maxima. Compute the average and standard deviation of the values in the maxima list.
Statistical Description of Durations. Compute the average and standard deviation of values in the durations list.
Both this overall Simulator
and the :class: Game classes
collaborate with the Player
class. The Simulator
object’s
collaboration, however, initializes the Player
object and then
monitors the changes to the Player
object’s stake. We have to
design two interfaces for this collaboration.
We’ll look at each of these in separate sections.
Player Initialization¶
The Simulator
class will initialize a Player
instance
for 250 cycles of play, assuming about one cycle each minute, and about
four hours of patience. We will also initialize the player with a
generous budget of the table limit, 100 betting units. For a $10 table,
this is $1,000 bankroll.
Currently, the Player
class is designed to play one session
and stop when their duration is reached or their stake is reduced to
zero. We have two alternatives for reinitializing the Player
object
at the beginning of each session.
The overall simulator control will reset the
stake
androundsToGo
values of aPlayer
instance. This is a matter of setting variables inside thePlayer
object, so there’s nothing to implement here.Provide a Factory that allows a client class to create new, freshly initialized instances of the
Player
class.
While the first solution is quite simple, there are some advantages to
creating a PlayerFactory
class. If we create an
Abstract Factory, we have a single place that creates all Player
instances.
Further, when we add new player subclasses, we introduce these new
subclasses by creating a new subclass of the factory. In this case,
however, only the main program creates instances of the Player
class,
reducing the value of the factory. While design of a Factory is a
good exercise, we can scrape by setting attribute values of a Player
instance.
Player Interrogation¶
The Simulator
object will interrogate the Player
object
after each cycle and capture the current stake. An easy way to manage
this detailed data is to create a list
that contains
the stake at the end of each cycle. The length of this list and the
maximum value in this list are the two metrics the Simulator
gathers for each session.
Our list of maxima and durations are created sequentially during the
session and summarized at the end of the session. A list
will do everything we need. For a deeper discussion on the alternatives
available in the collections framework, see Design Decision – Choosing A Collection.
Statistical Summary¶
While the Simulator
class can interrogate the Player
object
after each cycle to capture the current stake, we don’t want the
sequence of values for each cycle. We want a summary of all the
cycles in the session. We can save the length of the sequence as well as
the maximum of the sequence. We can then calculate aggregate performance
parameters for each session.
Our objective is to run several session
simulations to get averages and a standard deviations for duration and
maximum stake. This means that the Simulator
class needs to
retain these statistical samples. We will defer the detailed design of
the statistical processing, and simply keep the duration and maximum
values in lists for this first round of design.
Simulator Design¶
-
class
Simulator
¶ Simulator
exercises the Roulette simulation with a givenPlayer
placing bets. It reports raw statistics on a number of sessions of play.
Fields¶
-
Simulator.
initDuration
¶ The duration value to use when initializing a
Player
instance for a session. A default value of 250 is a good choice here.
-
Simulator.
initStake
¶ The stake value to use when initializing a
Player
instance for a session. This is a count of the number of bets placed; i.e., 100 $10 bets is $1000 stake. A default value of 100 is sensible.
-
Simulator.
samples
¶ The number of game cycles to simulate. A default value of 50 makes sense.
-
Simulator.
durations
¶ A
list
of lengths of time thePlayer
object remained in the game. Each session of play produces a duration metric, which are collected into this list.
Constructors¶
Methods¶
-
Simulator.
session
(self) → List[int]¶ - Returns
list
of stake values.- Return type
list
Executes a single game session. The
Player
instance is initialized with their initial stake and initial cycles to go. An emptylist
of stake values is created. The session loop executes until thePlayer.playing()
method returns false. This loop executes theGame.cycle()
method; then it gets the stake from thePlayer
and appends this amount to thelist
of stake values. Thelist
of individual stake values is returned as the result of the session of play.
-
Simulator.
gather
(self) → None¶ Executes the number of games sessions in
samples
. Each game session returns alist
of stake values. When the session is over (either the play reached their time limit or their stake was spent), then the length of the session;ist
and the maximum value in the sessionlist
are the resulting duration and maximum metrics. These two metrics are appended to thedurations
list and themaxima
list.A client class will either display the durations and maxima raw metrics or produce statistical summaries.
Simulation Control Deliverables¶
There are five deliverables for this exercise. Each of these classes needs complete Python docstring comments.
Revision to the
Player
class. Don’t forget to update unit tests.The
Simulator
class.The expected outcomes from the non-random wheel can be rather complex to predict. Because of this, one of the deliverables is a demonstration program that enumerates the actual sequence of non-random spins. From this we can derive the sequence of wins and losses, and the sequence of
Player
bets. This will allow us to predict the final outcome from a single session.A unit test of the
Simulator
class that uses the non-random generator to produce the predictable sequence of spins and bets.A main application function that creates the necessary objects, runs the
Simulator
’sgather()
method, and writes the available outputs tosys.stdout
For this initial demonstration program, it should simply print the list of maxima, and the list of session lengths. This raw data can be redirected to a file, loaded into a spreadsheet and analyzed.


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Akagera National Park is home for more than 100 bird species, Zebras and Girafes.In 2017 it officially became a "Big Five" park, meaning it is has; Lions, Rhinos, Leopards, Elephants and Buffaloes. If you are outdoorsy and you want to enjoy the park's activities you are in for a treat!There are numerous fun and adventurous activities like: fishing, night drives in the park, boat trips and so much more for you to enjoy.
| Service | Support Staff | Email Address |
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Created by Björn Kimminich / @bkimminich
“Nobody would bother to hack us.”
“Our network firewall will keep us safe.”
“We will add security to the system later.”
“What's the worst that could actually happen?”
...smuggling in unintended commands along with the data sent to an interpreter.
You go to court and write your name as "Michael, you are now free to go".
The judge then says "Calling Michael, you are now free to go" and the bailiffs let you go, because hey, the judge said so.
...to an innocent user's browser through, e.g. a link in a phishing email like the following:
Dear customer,
you might be intrerestred in our new Juice Shop special offer! We are cheap but offfer best quality on the plnaet: Click here for special Juice Shop offer!
Bjoern (VP Sales and Marketing, Juice Shop Inc.)
http
connectionPresentation created with reveal.js
The HTML Presentation FrameworkBased on free material provided by OWASP
The Open Web Application Security ProjectBackground image based on Digital Shodan
by sephiroth-kmfdmThese slides are publicly available on GitHub and Slideshare.


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Whether you're on a hike, at a restaurant, or relaxing on the beach - One Line A Day is available on all platforms for you to easily keep track of the best moments.
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Same as above, except in Object.
| load | -> | load_without_new_constant_marking |
| send | -> | send! |
| Anticipating Ruby 1.9 neutering send | ||
| method_added | -> | blank_slate_method_added |
# File vendor/rails/activesupport/lib/active_support/vendor/builder-2.1.2/blankslate.rb, line 90 90: def find_hidden_method(name) 91: nil 92: end
Lookup missing generators using const_missing. This allows any generator to reference another without having to know its location: RubyGems, ~/.rails/generators, and RAILS_ROOT/generators.
# File vendor/rails/railties/lib/rails_generator/lookup.rb, line 10 10: def lookup_missing_generator(class_id) 11: if md = /(.+)Generator$/.match(class_id.to_s) 12: name = md.captures.first.demodulize.underscore 13: Rails::Generator::Base.lookup(name).klass 14: else 15: const_missing_before_generators(class_id) 16: end 17: end
Detect method additions to Object and remove them in the BlankSlate class.
# File vendor/rails/activesupport/lib/active_support/vendor/builder-2.1.2/blankslate.rb, line 83 83: def method_added(name) 84: result = blank_slate_method_added(name) 85: return result if self != Object 86: BlankSlate.hide(name) 87: result 88: end
A duck-type assistant method. For example, Active Support extends Date to define an acts_like_date? method, and extends Time to define acts_like_time?. As a result, we can do "x.acts_like?(:time)" and "x.acts_like?(:date)" to do duck-type-safe comparisons, since classes that we want to act like Time simply need to define an acts_like_time? method.
# File vendor/rails/activesupport/lib/active_support/core_ext/object/misc.rb, line 56 56: def acts_like?(duck) 57: respond_to? "acts_like_#{duck}?" 58: end
An object is blank if it‘s false, empty, or a whitespace string. For example, "", " ", nil, [], and {} are blank.
This simplifies
if !address.nil? && !address.empty?
to
if !address.blank?
# File vendor/rails/activesupport/lib/active_support/core_ext/blank.rb, line 12 12: def blank? 13: respond_to?(:empty?) ? empty? : !self 14: end
Can you safely .dup this object? False for nil, false, true, symbols, and numbers; true otherwise.
# File vendor/rails/activesupport/lib/active_support/core_ext/duplicable.rb, line 4 4: def duplicable? 5: true 6: end
Evaluate the block with the given arguments within the context of this object, so self is set to the method receiver.
From Mauricio‘s eigenclass.org/hiki/bounded+space+instance_exec
# File vendor/rails/activesupport/lib/active_support/core_ext/object/extending.rb, line 41 41: def instance_exec(*args, &block) 42: begin 43: old_critical, Thread.critical = Thread.critical, true 44: n = 0 45: n += 1 while respond_to?(method_name = "__instance_exec#{n}") 46: InstanceExecMethods.module_eval { define_method(method_name, &block) } 47: ensure 48: Thread.critical = old_critical 49: end 50: 51: begin 52: send(method_name, *args) 53: ensure 54: InstanceExecMethods.module_eval { remove_method(method_name) } rescue nil 55: end 56: end
# File vendor/rails/activesupport/lib/active_support/core_ext/object/instance_variables.rb, line 4 4: def instance_variable_defined?(variable) 5: instance_variables.include?(variable.to_s) 6: end
# File vendor/rails/activesupport/lib/active_support/core_ext/object/instance_variables.rb, line 37 37: def instance_variable_names 38: instance_variables.map(&:to_s) 39: end
A Ruby-ized realization of the K combinator, courtesy of Mikael Brockman.
def foo returning values = [] do values << 'bar' values << 'baz' end end foo # => ['bar', 'baz'] def foo returning [] do |values| values << 'bar' values << 'baz' end end foo # => ['bar', 'baz']
# File vendor/rails/activesupport/lib/active_support/core_ext/object/misc.rb, line 27 27: def returning(value) 28: yield(value) 29: value 30: end
Dumps object in JSON (JavaScript Object Notation). See www.json.org for more info.
# File vendor/rails/activesupport/lib/active_support/json/encoders/object.rb, line 3 3: def to_json(options = {}) 4: ActiveSupport::JSON.encode(instance_values, options) 5: end
Alias of to_s.
# File vendor/rails/activesupport/lib/active_support/core_ext/object/conversions.rb, line 3 3: def to_param 4: to_s 5: end
# File vendor/rails/actionpack/lib/action_controller/routing/routing_ext.rb, line 3 3: def to_param 4: to_s 5: end
Converts an object into a string suitable for use as a URL query string, using the given key as the param name.
Note: This method is defined as a default implementation for all Objects for Hash#to_query to work.
# File vendor/rails/activesupport/lib/active_support/core_ext/object/conversions.rb, line 11 11: def to_query(key) 12: "#{CGI.escape(key.to_s)}=#{CGI.escape(to_param.to_s)}" 13: end
Mark the given constant as unloadable. Unloadable constants are removed each time dependencies are cleared.
Note that marking a constant for unloading need only be done once. Setup or init scripts may list each unloadable constant that may need unloading; each constant will be removed for every subsequent clear, as opposed to for the first clear.
The provided constant descriptor may be a (non-anonymous) module or class, or a qualified constant name as a string or symbol.
Returns true if the constant was not previously marked for unloading, false otherwise.
# File vendor/rails/activesupport/lib/active_support/dependencies.rb, line 528 528: def unloadable(const_desc) 529: Dependencies.mark_for_unload const_desc 530: end
An elegant way to refactor out common options
with_options :order => 'created_at', :class_name => 'Comment' do |post| post.has_many :comments, :conditions => ['approved = ?', true], :dependent => :delete_all post.has_many :unapproved_comments, :conditions => ['approved = ?', false] post.has_many :all_comments end
Can also be used with an explicit receiver:
map.with_options :controller => "people" do |people| people.connect "/people", :action => "index" people.connect "/people/:id", :action => "show" end
# File vendor/rails/activesupport/lib/active_support/core_ext/object/misc.rb, line 47 47: def with_options(options) 48: yield ActiveSupport::OptionMerger.new(self, options) 49: end


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| DOSE: |
|
smoked |
Cocaine |
(powder / crystals) |
| |
|
smoked |
Crack |
(freebase) |
| |
|
smoked |
Tobacco |
(plant material) |
In the backroom of a crusty apartment was when I first discovered a Euphoria that seemed to overpower me. And let me tell you, the experience was beyond anything I could possibly say about it. To begin with, a large black man, his wife, and 2 of my friends were sitting in some shady character's apartment drinking Southern Comfort and smoking foilies and pot when the black man stood up, walked out of the room, and returned with a box of baking soda and a spoon.
It only took me 3.2 to realize what was going on and to be honest, I was completely appolled. Besides myself, I've never heard anybody talk about crack in a good light and before I tried it, my opinion about it was most definitely negative. The black man, who I'll call Mothergoose, proceeded to put a good rail or 3 in the spoon along with water and baking soda and heat it. Then he went ashtray diving looking for some decent tobacco, packed his findings in a bong, and topped it off with a small white rock. He and his wife smoked it and she went home for some unknown reason. I felt incredably uncomfortable sitting there just staring at Mothergoose the whole time intrigued and obviously very curious. The look on their faces after they stood up and exhaled reminded me of somebody having an amazing trip: ear to ear grin.
Since it was clear that I was interested in sampling, Mothergoose picked up some more tobacco,loaded the bong again, and dropped a rock about a quarter of the size of my pinky fingernail into the slide. I told him that I didn't know what to do and he had me hold the bong up to my mouth and said that he would light it and 'guide me through.'
'Suck slower!!
And ask soon as my lungs were full I exhaled and got a flick on the wrist for not holding it in. The only thing I'd smoked before was pot and I assumed smoking crack would follow the same procedure. I felt something after that first hit but but wasn't sure if I liked it or not. Then Mothergoose took the tobacco and crushed a rock up into the it. He told me what it's called when you do that but I didn't bother remembering.
I then proceeded to experience the greatest high I've ever known. I tried to get so much smoke in my lungs that I ended up swallowing it. I held my breath for like 9 seconds and started to stand up. I could feel the effects even before I exhaled and and when I did, it was pure bliss. And the 20 minutes after will not easily be forgotten. I was so high that I had to sit down before I fell down. Mothergoose told me that this was as high as I was going to get today and I was slightly disappointed that I wouldn't be able to smoke more. But at the same time, couldn't have cared less because absolutely nothing could bring me down or upset me.
The most amazing high I've stubbled over and I couldn't even tell my friends it treated me like a queen, because I couldn't say anything. All I could do was stare blankly and think to myself about how fantastic it was to be alive. Let me add a personal comment, not more than 5 days before, my dad had beat me up after coming home 15 minutes late and he told me that if I left his house that 'I would NOT have a father anymore', so it means quite a bit when I say it was fantastic to be alive. I used to be addicted to Adderall and honestly, this was a euphoria that the first couple hours of a high dose of Adderall doesn't even compare too.
I don't know how well I described that, but it's a really difficult feeling to tell somebody about. The only thing that I can say to even begin to describe how I felt would be perhaps... eating very good mushrooms and having an amazing trip multiplied by<PHONE_NUMBER>084.
After that hit it became obvious to me that this was definitely something I NEEDED to do more often. I was basically accepting the fact that I wanted to be addicted to crack and it didn't bother me in the least, despite the fact that 10 minutes earlier I was disgusted by the idea of even trying it. Lucky for me I'll try any drug once if it's free, or I would have missed out on a high so sweet that I have a hard time even vaguely describing it to people.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


{% load i18n %}
{% trans "Place could not be found" %}
{% trans "Google Maps API key is missing from settings." %}


--- layout: page title: Course type: course ---
Hyperlinks, animation, interactivity, code play—the topographies of electronic literature and Internet art are broad and rich, and speak to our shifting understanding of what constitutes “literature” in the digital age. “E.LIT / NET.ART: An Extraordinarily Brief Survey of Digital Literature, 1975 – 2015,” introduces and exposes students not only to born-digital literature, but to some of the critical and historical vocabularies that underpin the wide-ranging work of the digital humanities.
A full survey of electronic literature’s forty years of existence would easily fill a semester, let alone a week-long Interterm course. This course will, then, be self-conscious in its brevity, and focus on giving participants a taste of this literary form and encouraging them to use it as a jumping-off-point for their own explorations. Each day will focus on one representative piece of electronic literature, exploring major topics including interactive fiction, hyperlinks, countergaming, and Flash. Participants will also read critical responses to these works and to broader concepts in electronic literature. The overall goal of the course will be to help students develop vocabularies through which to critique and historicize electronic literature, and digital media more generally.
This course is a part of Five College Digital Humanities’ new series of Interterm workshops designed to introduce students to critical concepts in the digital humanities. Participants will complete a short assignment, understood as a prototype for future work, responding to course materials. This might be a paper, a video game, a Twitter bot, a performance installation—or something entirely new.
This course is not for credit, and is open to all Five College students, staff, and faculty. No prior experience required.
This course will meet from January 12th to January 16th, from 1 PM to 3 PM in Smith College’s Hillyer Digital Media Studio (Hillyer 320).
Key Text: Agrippa, a book of the dead by William Gibson, 1992.
Critical Texts:
Key Texts:
Critical Texts:
Key Texts:
Critical Texts:
(Guest lecturers Caro Pinto & Shaun Trujillo, Mount Holyoke College LITS)
Key Text: Zork by Tim Anderson, Marc Blank, Bruce Daniels, and Dave Lebling (1977).
Critical Texts:
Key Texts:


Yet Another WebXR-centric Browser Announced
Metachromium is a fork of Chromium that runs WebXR content in a SteamVR layer. It doesn't take over the scene but instead composites together the base experience and WebXR content. Like the Aardvark browser (mentioned in issue 19) Metachromium explores the possibility of mixing long-running XR gadgets with session-oriented content.
New Features of Oculus Browser
At Facebook Connect 2020 the Oculus Browser became the core of their infinite office initiative, providing a mixed reality workspace in the new Quest 2 headset. This twitter thread and this video from Jacob Rossi cover the major new features, including PWAs!
WebXR Entries in js13kgames 2020
This was the first year that the long-running js13kgames competition included a category for WebXR and 15 people submitted entries, including Three.js creator Ricardo Cabello. Participants were allowed to use A-frame, Babylon, or Three.js without counting against their 13 kilobytes of code but at least one entry used no external libraries.
Representative One-Ups Chair with a Half-length WebXR Introduction
In last week's issue we covered our chair Ada Rose Cannon's 30 minute introduction to the immersive web only to find out that this week our W3C representative, Dominique Hazael-Massieux released a 15 minute introduction. While your editor could find no evidence that this is a competition the timing is quite a coincidence. What will be next, a 7.5 minute introduction?