text:
e - flux Architecture
History/Theory - Joan Ockman - Slashed
Historicity & Historiography
Knowledge Production
Artistic Research
Joan Ockman
Return to History/Theory
Slashed
László Moholy-Nagy, Z IV, 1923.
History/Theory
Who put the slash in history/theory? It was a consequential stroke, although its origin is hard to pinpoint. It seems first to have appeared in the late 1960s or early 70s, when architecture schools began to accord theory the same value as history. Interestingly, the history/theory conjunction appears idiosyncratic to architecture—we don't encounter anything similar in literature, for example, or in the sciences. In the age of the computer backslash, we need to specify it as a forward slash. As a shorthand for "history and/or theory," we sometimes find it substituted with an ampersand ("history & theory"), or with nothing (as in the Germany acronym gta, the Institute for the History and Theory of Architecture at the ETH-Zurich, established in 1967). It's also often conjoined with criticism (as in HTC, the History, Theory + Criticism of Architecture and Art program at MIT, founded in 1975). In any case, what it has signified, until recently, is something between an interrelated field of study and a full-blown discipline.
Yet if h/t (as it's frequently abbreviated) enjoyed unparalleled success during the 1970s, 80s, and 90s, the last couple decades have witnessed a backlash. While it remains nominally present in school curricula and in architectural publications, theory no longer possesses the luster it once did, and, at least in North American institutions, history is fighting an uphill battle against a culture programmatically directed toward the future. Back in 2000, in the valedictory issue of the journal Assemblage, I virtuously proclaimed: "There can be no history without theory. There can be no theory without history. History without theory is just one thing after the other. Theory without history is hubris."1 Meanwhile, in the same issue, the protagonists of a new post-theoretical/postcritical position, shortly to become a media phenomenon, advocated otherwise. One declared, "The simple fact—one that we should celebrate rather than hide—is that criticism isn't necessary."2 Another, in a contribution titled "Which Way Avant-Garde?," wrote approvingly, that "Despite the best efforts of [Deleuze's] 'French theory' adherents, and indeed despite his own prejudices against management thinking […] the work of Deleuze will be brought to fruition not by 'communists like us,' as Antonio Negri and Félix Guattari dreamed in their pamphlet of the same name, but by intellectual entrepreneurs and managers of change in the fierce world of globalization."3 Seventeen years later, it's sufficient to observe that both of these writers are deans of major US architecture schools. And Deleuzianism, for its part, has become less of an obsession of architects and/or receded into the misty history of late twentieth-century architectural theory.
Rather than rehash the postcritical argument here, though, it is more useful to consider what has usurped the prestige of history, theory, and criticism in schools over the last decade and a half and to try to understand in what ways the managerial revolution has overtaken architectural academe. A quick and unscientific canvass of the websites of leading North American architecture institutions indicates that "advanced research," "applied research," and "research labs" are now the marquee items in curricular programs, whether integrated into the design studio sequence, treated as electives, or elevated to the status of special "centers" and "units." Instead of history/theory today, what we now have is research. Research is the holy grail of contemporary architecture education, and the "laboratories" in which it is carried out—by white-coated architectural technicians, figuratively speaking—are its shrines. As for criticism: arguably, we now have something like "curation." History/theory has turned into research/curation.
Currently, at one of the schools where I teach, the basic history/theory curriculum, a required three-semester sequence for all incoming M.Arch. students, is about to undergo major revamping. One proposal on the table is to scrap large lecture courses and divide each thirteen-week semester into two six-week "modules" taught by a rotating cast of faculty members. The modules are to be focused on the following "themes": foundations/theory, urban/environmental, and housing/contemporary theory. The logic behind this new set of slashed compounds is less than self-evident, and notably, history per se is not among any of the specified themes. The stated objectives include providing faculty with more flexibility, potentially tying in academic coursework with the design studio sequence, and giving students "options." I really don't know whether these are good ideas or bad. I am not against change. What I do know is that the large lecture courses on the history of modern architecture that I have been honing for a number of years, in which I try to give students a comprehensive critical overview of the last century and a half of architecture (principally European and American, although I've increasingly made efforts to offer a more global picture), will be retired.
What are the implications of the shift away from history and theory and toward research, research, research? I hasten to mention that research is actually not a brand-new preoccupation in architecture. It was fundamental to the polytechnical educational model in its nineteenth-century origins, and, in the US adaptation, to the engineering experiment stations that cropped up in early land-grant universities, which investigated a range of topics from the acoustics of auditoriums to the use of the Dewey Decimal System in the classification of architectural knowledge. By the 1930s, the hands-on workshop model pioneered at the Bauhaus started to be widely disseminated, giving meaning to a modern concept of design as research, and displacing the dominant model of the Beaux-Arts atelier with its emphasis on individual artistic inspiration, historical precedent, and rituals of representation. After World War II, with the ascendancy of the social sciences in the liberal arts university, methods based on statistics, behavioral science, systems theory, and fieldwork began creeping into programs in architecture education from Berkeley to Ulm.
Yet the recent fetishization of research in architecture schools has new ingredients. Obviously, the skillset most useful for research differs from that required for theoretical and critical inquiry. As a methodology rooted in science, research (whether "pure" or "applied") is founded on claims of objectivity and factuality. While, as just suggested, it can be carried out in any architectural domain—from technology and construction to design to history and theory—it relies on the activities of finding, collecting, organizing, documenting, categorizing, cataloging, analyzing, editing, and (ultimately, in the curatorial stage) arranging information. Architects are especially adept at this last. In privileging hunting and gathering over more sedentary tasks like reflecting and questioning, research rewards enterprise and ingenuity. It eschews tendentiousness, preferring to "defer judgment"—to borrow Denise Scott Brown and Robert Venturi's formulation with respect to their "Learning from Las Vegas" studio—at least provisionally. Today research projects in every field benefit spectacularly from the affordances of computerization and distributed networks of information. At the same time, since access to sources and resources is everything, the researcher remains beholden to the provider's procedures and protocols, and is generally more tied to patronage and funding than the theorist or critic, who, relatively speaking, operates with greater autonomy.
All this is to suggest that today's culture of research and curating is more perfectly geared than that of theory and criticism to a form of higher education that is in process of being profoundly reshaped by market forces, by consumer values, by globalization, and by digital media. Universities are being restructured to run on the for-profit model of the business corporation, and under the regime of cognitive capitalism, the production of research is integral to their lifeblood and their brands. As Andrew Ross has written:
In all likelihood, we are living through the formative stages of a mode of production marked by a quasi-convergence of the academy and the knowledge corporation. Neither is what it used to be; both are mutating into new species that share and trade many characteristics. These changes are part and parcel of the economic environment in which they function; where, on the one side, a public commons unobtrusively segues into a marketplace of ideas, and a career secured by stable professional norms morphs into a contract-driven livelihood hedged by entrepreneurial risks; and, on the other side, where the busy hustle for a lucrative patent or a copyright gets dressed up as a protection for creative workers. Here the restless hunt for emerging markets masquerades as a quest for further international exchange or democratization.4
If this characterization has until quite recently been more recognizable as a description of the academic-administrative environment in fields like medicine and the social sciences, today the bureaucratization, instrumentalization, and globalization of the knowledge economy have spread to every corner of the university. The buzzwords of innovation, creativity, sustainability, resilience, and "design thinking" have put architecture departments in the center of the game, making their research eminently fundable. While a project in architectural history is, of course, less monetizable than, say, a digitally fabricated panel system, inevitably it is permeated by the same system of values. A comparative survey of dissertation topics in architectural history in 1965, 1985, and 2010 would tell a revealing story (and would indeed be a worthwhile piece of research). Today's hot topics include the archaeology of the digital, proto-globalist tendencies from the Crystal Palace on, early intimations of environmentalism, and the like. Undoubtedly scholarly attention to these issues is timely and well warranted. Every generation rewrites the history of its own present; in this way history becomes useful for life, as Nietzsche argued it must in the second of his Untimely Meditations.5 Yet the commercialization of the scholarly field increasingly makes the doctoral student or mid-career academic into an aggressive go-getter of fellowships, postdocs, and research opportunities, one who is hardly less strategic or zealous than the cancer researcher. It's no secret that entanglement with funding tends to affirm and inscribe the interests of the sponsor or patron in the project, and certainly architecture has been no stranger to the blandishments of patronage since at least the Renaissance. (Of course, Piranesi managed to be at once flattering to his patrons and subversive, and perhaps Rem Koolhaas has mastered the same trick.) Yet the permeation of architecture education by capitalist prerogatives, from the mastery of grantcraft to the hustle of getting published to the curation of the portfolio or tenure dossier, has made faculty and students alike into entrepreneurial players in a competitive academic marketplace.
In this context, theory and criticism are tangential and even undesirable pursuits, serving mainly to inject friction into a self-lubricating system. In its emergence in the 60s and early 70s, architectural theory had an essential role to play in attacking and dismantling modernist orthodoxy, and it was key to the ideological success of postmodernism. It also took inspiration from ideas emerging in other university departments, especially literature. Postmodernism's rage for theory in its most radical manifestations (notably poststructuralism) may have been the last gasp of the modernist avant-garde's revolutionary ambition to overturn the dominant system of values, even if only at the level of culture. But in the increasingly revanchist political climate of the late 70s and 80s, the upstart subfield of theory itself became institutionalized and turned into an academic industry, with a star system and a self-serving network of publications, conferences, and exhibitions that reduced the political to a talking point. The backlash against theory in architecture that erupted in the 90s was overdetermined by both growing exasperation with this intellectual hyperinflation and the desire, in an expanding global market for building construction and an explosion of exciting new technologies, to get back to pragmatic problem-solving.
Today, though, it's clear that the fin-de-siècle convergence between the vanguard of theory and a techno-futurist architectural practice folded smoothly into the underlying neoliberal agenda. Now that capitalism is the most revolutionary force in the world, a triumphant managerial ethos has given rise to a host of new specializations laser-focused on issues of optimization, performance, and delivery. I just received an email solicitation from an architectural colleague who calls himself an "algorithmic consultant." The more public-oriented intellectual is now a "thought leader."
What does all this mean for the practice of architectural pedagogy, the imperative of research, and in particular for those who profess architectural history and theory? More, better h/t research is a genuine good, generally speaking, and the work generated by young academics eager to undertake deep dives into newly opened archives, sophisticated in using powerful search engines, and adept at mining vast quantities of data has undoubtedly yielded a trove of new knowledge. Yet in an increasingly commodified system in which architecture students are in training to become future members of a productive (and debt-ridden) class of "creatives" and, at the same time, are not shy about exercising their rights as educational consumers, the tradition of skepticism and negativity associated with critical thinking holds less and less allure. Ironically, what Max Weber defended in his 1919 essay "Wissenschaft als Beruf" ("Knowledge as Profession") as the academic ideal of value-free scholarship has become a ruse of the system. It is precisely so-called objective or value-neutral research that is able to be mobilized most effectively and efficiently for purposes of a market-driven society. This same paradox pertains to Manfredo Tafuri's well-known attack on operative criticism. The Venice historian articulated his critique of operativity in his early books Theories and History of Architecture (1968) and Architecture and Utopia (1973), skewering tendentious historians like Sigfried Giedion and Bruno Zevi for making ideology rather than making history. Against such "ready-made judgments of value," he insisted, the best options were "analytical rigor" and "more careful philology."6), 152–53.] It is noteworthy, though, that a few years later, Tafuri felt compelled to revise this stance, calling on the historian to balance on the "razor's edge that separates detachment and participation."7
My intention here is not to demean, or demonize, research. Research is a method applicable to work in both the hard and soft sciences and the humanities, as we have said, and it is integral to knowledge production in technology, design, and history/theory. Yet it is not, in itself, synonymous with them. It has no inherent content—unless, that is, method itself is deemed to be a form of content. While rooted in the disinterested Forschung of the German technical university and also, on the humanities side, in traditions of dispassionate textual scholarship, it has equal affinity with the directed R&D of the Cold War military-industrial-academic complex that coalesced during World War II. It is the latter spirit that seems to prevail in contemporary architectural labs.
In contrast, theory and history are inherently more disputatious and unoptimizable pursuits. They involve continuous contestation, interrogation of facts and power relations, and occasionally revelatory intuitions. In this sense, they are closer to aesthetic and political experience than to the grind-and-eureka of scientific discovery, and it is through this modality that they function not just pedagogically but also, potentially, as transformers of consciousness. As Hans Ulrich Gumbrecht writes in The Powers of Philology (2003), it is the challenge of academics in the humanities today to draw on whatever reservoir of "'unfunctionalized' desire" still exists.8 In other words, the architectural historian/theorist/critic—no more nor less than the studio teacher—needs to find ways to infuse timely knowledge with untimeliness, to give so-called immaterial labor materiality, and to open up an educational space that can serve as counterweight to a weightless global regime of production, distribution, and consumption.
Assemblage 41 (2000), 61.
Robert Somol, "In the Wake of 'Assemblage,'" Assemblage 41, (2000), 93.
Michael Speaks, "Which Way Avant-Garde?," Assemblage 41, (2000), 78.
Andrew Ross, "The Rise of the Global University," in The Edu-Factory Collective, Toward a Global Autonomous University (New York: Autonomedia, 2009), 30–31.
"We need history, certainly, but we need it for reasons different from those for which the idler in the garden of knowledge needs it, even though he may look nobly down on our rough and charmless needs and requirements. We need it, that is to say, for the sake of life and action, not so as to turn comfortably away from life and action…." Friedrich Nietzsche, "On the Uses and Disadvantages of History for Life," in Untimely Meditations, ed. Daniel Breazeale (Cambridge: Cambridge University Press, 1997), 59.
Manfredo Tafuri, Theories and History of Architecture (New York: Icon Editions, 1979 [orig. ed., 1968
Manfredo Tafuri, "The Historical 'Project'" (1977), in The Sphere and the Labyrinth: Avant-Gardes and Architecture from Piranesi to the 1970s (Cambridge: MIT Press, 1987), 11. I discuss this paradox in my essay "Looking Back at the 1960s Looking Back," in Rosemarie Haag Bletter and Joan Ockman with Nancy Eklund Later, eds., MAS: The Modern Architecture Symposia, 1962–1966, A Critical Edition (New Haven: Yale University Press, 2014), 38–39.
Hans Ulrich Gumbrecht, The Powers of Philology: Dynamics of Textual Scholarship (Urbana: University of Illinois Press, 2003), 86. On the relationship between historical scholarship and teaching, see also Gumbrecht's book The Production of Presence: What Meaning Cannot Convey (Stanford: Stanford University Press, 2003), 125–32.
History/Theory is a collaboration between the Institute for the History and Theory of Architecture (gta), ETH Zürich and e-flux Architecture.
Academia, Historicity & Historiography, Knowledge Production, Artistic Research
History/Theory is a collaboration between the Institute for the History and Theory of Architecture (gta), ETH Zurich and e-flux Architecture.
Joan Ockman has taught history and theory of architecture at the University of Pennsylvania, Cooper Union, Cornell, Harvard, Columbia, and a number of other schools since the 1980s. Her book Architecture School: Three Centuries of Educating Architects in North America appeared from MIT Press in 2012.
More from History/Theory
e - flux Architecture Essays November 9, 2018
Pre/post/erous Histories
Spyros Papapetros
Theories in and of History
Anthony Vidler
Meredith TenHoor
On the Uses and Disadvantages of Architecture for History
Reinhold Martin
e - flux Architecture Essays October 31, 2018
Colonial Ramifications
Samia Henni
The School of Architectural Scandals
e - flux Architecture Essays December 9, 2017
The Historicity of Modern Heritage
Maristella Casciato
Positioning Architecture (Theory)
Stephan Trüby
Radical Thought
Vittoria di Palma
e - flux Architecture Essays November 30, 2017
Architectural Problems
Brigitte Sölch
Working on Common Ground
Sonja Hildebrand
An Elementary Proposition
Laurent Stalder
The End of Theory? A Conversation
Peter Eisenman, Kurt W. Forster, Jacques Herzog, and Philip Ursprung
The Problem Concerning History
Richard Wittman
When Does History Begin?
Andreas Beyer
Architectural History After Globalization
Bernd Nicolai
Christophe van Gerrewey
Possible Conjunctions
The End of Theory?
Philip Ursprung
Nick Axel, Maarten Delbeke, Ita Heinze-Greenberg, Nikolaus Hirsch, Laurent Stalder, Philip Ursprung, and Anton Vidokle


text:
Hypatima tephroplintha is a moth in the family Gelechiidae. It was described by Edward Meyrick in 1923. It is found in Fiji.

The wingspan is about 10 mm. The forewings are light brownish ochreous speckled with dark grey and about eight grey spots along the costa, smaller posteriorly, three anterior raised and preceded by slight white marks. There is a grey blotch in the disc near the base, edged with white posteriorly. There are also grey transverse fasciate blotches before and beyond the middle, edged with black and then whitish, resting on the dorsum and touching the costal spots. A cloudy grey spot is found in the disc posteriorly, and small marginal spots are found around the apex and termen. The hindwings are grey.

References

Hypatima
Taxa named by Edward Meyrick
Moths described in 1923

redpajama_set_name: RedPajamaWikipedia


text:
Fireworks thrown at Stockholm US embassy during neo-Nazi protest
us embassynordic resistance movementnmr
The US embassy in Stockholm. Photo: Fredrik Sandberg/TT
A man was arrested in Stockholm on Sunday after bangers were thrown at the US embassy during a protest by neo-Nazi group the Nordic Resistance Movement (NMR).
Swedish anti-racism foundation Expo reported that a member of the embassy's staff was injured when bangers were thrown over the fence into the complex by protesters from the NMR, who were demonstrating against the bombing of Syria.
The report that fireworks were thrown was confirmed to The Local by Mark Cameron from the US embassy in Stockholm.
"All we are saying just now is that we can confirm the event happened, but we're referring everything else to the police, since it's an ongoing investigation. Because it's an ongoing investigation we're not commenting on injuries," Cameron told The Local.
MORE FROM THE LOCAL ON THE NMR:
Swedish court convicts neo-Nazi leader of inciting racial hatred at rally
Neo-Nazis denied ferry trip from Sweden to Finland
Swedish neo-Nazis lose trademark battle with German deep-freeze firm
A NMR march in Falun. Photo: Ulf Palm/TT
Kjell Lindgren from Stockholm police explained that the matter is now with the prosecutor, who must decide how to proceed due to an embassy being regarded as foreign territory.
"In connection with it someone was arrested suspected of attempted assault. He was questioned, then released as there wasn't cause to keep him detained. So now the ball is in the prosecutor's court, who has to decide what kind of crime classification to use, because the embassy is treated as a foreign power's territory and something was thrown into it. The prosecutor needs to decide on how the crime will be classified and we've not had that decision yet."
"There's no information of serious injuries, but then it's a question of what you treat as an injury. A number of bangers were thrown in. If I for example had tinnitus as a result of a banger being thrown near me, I'd consider myself to be injured. That's why we were saying that there were no serious injuries as far as we know," he added.
Police would not comment on whether the person arrested was linked to the NMR, but the neo-Nazi group took credit for it on their website, where they wrote that after a speech on how "the only people who gain something from the attack (on Syria) is the global Zionist elite" the group then "let the war criminals taste their own medicine – by bombing the USA!".
Swedish LGBT group drops out of Sweden's top political festival over Nazi threats
Swedish PM Löfven calls for Nazi organizations to be banned
Neo-Nazi march attacked by counter-demonstrators in Sweden
17 charged over neo-Nazi violence in Gothenburg
Stockholm neo-Nazi march ends without violence

redpajama_set_name: RedPajamaCommonCrawl


See scan - perfect condition. This is a nice and rare Communist era Bulgarian pin as presented to officer staff of the Danube River Fleet. The pin / badge shows the NAVY flag with Bulgarian colors and anchor in middle. Atop is a Red Star. Size is 15mm x 13mm. Rare marine / river fleet and nautical related collector piece and one of the rare Communist Bulgarian pins and badges.


text:
Welcome to Auto Chess: Hyped and Tabzz
Every so often we see a new game come out that absolutely takes over the public sphere. Auto Chess is one of those games and we knew almost immediately that we wanted to be a part of both growing the community and the game's competitive scene. As such, it is with great pleasure that we announce our official entrance into competitive Auto Chess through the signing Tabzz and the news that Hyped will be moving to Auto Chess from Artifact!
Statement from Team Liquid Co-CEO Steve Arhancet
Why has Team Liquid decided to pick up players for Auto chess?
In Team Liquid fashion, we enjoy identifying games that are competitive, fun to play, require skill and enjoyable to watch; within those communities if we solve problems and give back, that is where we feel most comfortable. For us, we became fond of the game and the community from its launch. Since then, we've assisted in the build out of one of the largest Discord communities for auto-chess. We've even introduced matchmaking for those who prefer not hitting accept a million times in public games and also prefer tracking their progress and playing with other like-minded competitive players with the QIHL. We've seen the community grow substantially and also introduced a new website to make the process even easier. It just feels appropriate for us to also identify players who we can assist in their aspirations of competing at the highest levels. We understand that there's of course RNG in Auto Chess but we feel this is at levels that don't break one's ability to compete.
Lastly, we've seen support for the competitive ecosystem. There's matchmaking, tournaments, leagues and the developer has even been promoting these events in the loading screen — which I take as a direct indication that they support the growth of the competitive ecosystem.
What qualities does Tabzz have that make him a good fit for Team Liquid and for Auto chess?
For Tabzz, he has not only shown tremendous skill at Auto Chess by doing things like breaking the MMR cap but he also very clearly loves this game. Watching his stream for 5 minutes will tell you that he has a potent combination of raw talent and pure love and dedication to Auto Chess. One of Tabzz greatest strengths is his ability to identify what his opponents are planning rounds in advance and having his counter prepared before they pose a threat. He might add in a Naga bonus to dispatch Mage compositions or add in an Undead bonus against Goblin players who are only waiting to find Techies. Watching his stream is always educational When you love something this much and you are this good at it people start to notice you. In his case we took notice.
Interview with Tabzz
What do you think draws so many people to Auto Chess? What first made the game stand out to you and made you decide that you wanted to keep playing it?
Auto Chess is a very unique game that appeals to gamers from many genres. It mixes elements from MOBA, Battle Royale and card games together into an enjoyable mix of skill and RNG. I was hooked from the first match I played and I still love it months later.
What ended up being your reason to play for Team Liquid over other orgs?
When I played League of Legends professionally, Team Liquid was known to pros as one of the best organisations in the industry. TL also recognizes the potential of Auto Chess by managing the biggest matchmaking server and hosting tournaments for the game.
Has your history in esports helped you adjust to playing Auto Chess? If so how?
Proficiency in games can often transfer over to other games and positions, especially the mindset required to improve and progress your skills. As Auto Chess is essentially a MOBA teamfight simulator, playing LoL professionally gave me a head start.
What do you think is needed to maintain your position as one of the world's best Auto Chess players?
Continuously playing in the best lobbies and staying on top of patches and meta changes. I watch streams and occasionally analyse top level games from China. The developers push out new content and balancing every week and it's a constant fight to stay at the top.
As a streamer, how does Auto Chess compare with other games that you have streamed? Do you find it easier to interact with chat or explain what you are doing and why you are making those decisions to viewers?
Auto Chess is a good game to stream, since the round-based nature of the game allows the streamer to interact with an audience without losing concentration. There are a lot of fun and educational moments to be shared.
Auto Chess is a very unique game to play competitively due to the nature of the matches. There are 8 people who all fight over the same pool of units and item drops are random, how does this impact the strategy element of the game and do you believe there are any changes that should be made for tournament play?
The appeal of Auto Chess is the mix of skill and RNG which is currently, apart from a few exceptions, decently balanced. If I would have to suggest changes, there would be two:
Guarantee a certain amount of tier X item drop from a neutral round, so nobody leaves empty handed and making it more unlikely to play the same player multiple times. Sometimes, a player with a great lineup will lose a lot of health early on because he has to play the 100% HP win-streaker multiple times in just a few rounds. A better opponent finding algorithm could fix this problem.
Is there anything you'd like to say to any possible new viewers of your stream who have started watching you because of Autochess? Any inside jokes, meme's or anything else they should know when they tune in?
I usually stream 6 to 8 hours of top ranked lobbies most days of the week, and explain things I'm doing. If you want to learn Auto Chess, chill to good music or simply spam the chat, you'll be in the right place.
You've played competitive League of Legends for the better part of this decade, from 2011 up to 2017 and as a streamer for even longer. What made you decide to take on such a new challenge and stream a totally different genre of game?
Streaming is a way for me to share my love of games with other people. My mindset is that if I enjoy a game and can share that joy with my viewers, they'll enjoy watching it too, regardless of the genre.
Interview with Hyped
It's a totally new genre that people are generally pretty excited to explore. It's a bit like a distilled down version of a MOBA or an RTS, but it's a lot less overwhelming to get into to. You don't have to do any of the tedious laning - you don't even have to do the microing - you just get to put your pieces down on the board and enjoy the action. It's also pretty addictive! It really has that "one more game" kind of appeal to it. In the beginning it feels like there is a lot of RNG, but the more you play it the more you realize that there are lots of different ways for you to get edges over your opponents, and that part of the game has been a lot of fun for me to explore. The longer I play the game, the more depth I realize that it really has.
Starcraft II and Brood War were the first esports that I was really interested in, so I was always on teamliquid.net back in the day and was drawn to the team because of that.
All of the games I've played in the past were generally strategy games. Even Overwatch which is a shooter, I was initially drawn to it because it seemed to have a little more strategy going on than something like Counter Strike. So, I'd say the biggest thing I've learned from all the strategy games I've been into in the past was the metagame knowledge and how to balance what's good and what isn't. In each Auto Chess lobby it's kind of like there's a different metagame going on, so you want to try and stay one step ahead of everyone else in terms of strategy and figuring out the best comps.
Right now I'm really experience hungry, I just want to play as many matches as I can and learn as much as I possibly can about the game. There's still a ton to explore!
It's interesting, because Auto Chess seems like the kind of game that would be really easy to stream, but the game actually requires quite a bit of focus and I make a lot of mistakes because I talk to chat too much. But the format of the game itself is very streamer-friendly, because you can do your turn and then interact with your viewers while the battle is taking place and you don't have anything else to do. I also think it's a really fun game to watch, because it's a lot of fun to cheer for your favorite streamer while the battles are going on and there can be a lot of tension going on during fights.
I think it all really depends on the scoring system of the tournament. For example on the ladder if one guy super high rolls or gets a bunch of crazy items it's not a big deal because you are generally just playing for top 4 finishes because that's what the MMR system rewards you for, so it'd be really interesting to see if tournament organizers would try to score things differently to incentivize players to shoot for something other than top 4s.
You've said in the past that your ability to visualize and predict what will happen next in games like Hearthstone, Magic, WoW, and Artifact is part of what makes you so good at those games. How does that apply in Autochess?
Right now I haven't figured out how to do that yet except for trying to predict what kinds of builds my opponents are going for.
I don't think so - I'd call myself an educational streamer, basically I'll teach you how to play the game!
Writer // Patrick McCleary
SC2 HotS
SC2 Korean
SC2 International
BW Korean
BW International
BW SOSPA
StarCraft II Wiki
Brood War Wiki
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CS:GO | Valorant Nitr0 Returns: Old Captain, New World The captain is back - but into a new world of Liquid and of CS. He's also bringing a great deal of new experience over from Valorant and 100T. Check out the full interview for why Nitr0 returned to CS, trying to court oSee into Valorant, his feelings on the current meta, how he approaches the IGL role, why Liquid struggles online, and much more.
Valorant Team Liquid BR ingressa no VALORANT No dia 9 de Janeiro de 2022, a Liquid Entertainment, uma gravadora completamente real e não fictícia, irá debutar seu novo grupo chamado Team Liquid BR! Edição em Português.
StarCraft 2 | League of Legends | CS:GO | Smash | Dota 2 | Rainbow Six | Fortnite | Auto Chess | Valorant Last Year in Liquid Team Liquid has had a hell of a 2021. To sum it all up, we got help from a leading community member: Tortious Tortoise. Tortoise is a regular on TL's subreddit, serving up recaps on the TL action. This time, he's here to look into a bigger question. Was Liquid successful in 2021?
Valorant Team Liquid BR Enters VALORANT Liquid Entertainment, the totally real and not fictional music agency, will be debuting their new group, Team Liquid BR, on January 9th, 2022!


Now that I have a Microsoft Surface, one of the things I should be able to do from my tablet is print. Our iPads don't support printing to our old (almost 10 years) Brother HL-1440 Laser Printer, so I was a little skeptical that I would be able to find a driver for Windows RT (ARM-based).
I gave it a shot and, after testing a couple of the built-in drivers, hit upon the "Brother Laser Type 1 Class Driver". It works!


Very happy I chose Jen and Jean to sell my house!!
Jean made our home buying experience easy!
If you want a team of professionals who will honestly help you find your dream home, then The Jen & Jean Team are perfect for you. Matt Lewis, especially helped us look at all of the homes we were interested in, no matter what time of day. Early in the morning or late at night, if we had a question or saw a property that we were interested in, he got us all of the details of each property before we toured them. This helped us make educated decisions, which led to us getting our dream home at an amazing price! When the housing market got crazy, Matt stayed calm and on target, getting us our dream home on our budget. We moved in a month ago and we love our home more and more each day! We can't thank Matt and The Jen & Jean Team enough!!! Great Customer Service, speedy responses and I will be sending all friends and family their way! Thanks guys, FOREVER GRATEFUL! You guys made a very stressful time, not so bad after all! Thank You!
Jean made our home buying experience easy! She stuck with us for over a year as we were very picky and this was our first home. Jean always made sure we were able to get to a new listing right away, and if she wasn't available she would ensure Matt was to show us a home. I would highly recommend the Jen and Jean team. I plan on doing business with them in the future, very patient, kind, and understanding.


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A modern British public house and social dining room in the heart of Cambridge, this award-winning pub serves a variety of real ale, craft beer, wine and spirits, with a strong focus on gin. There is a huge selection of US bottles, such as Flying Dog, Anchor, and Sierra Nevada. They try to source as many ingredients from the surrounding area and work with local suppliers (as Tamburlaine do) and have a modern take on casual British dining.
A pub for all beer lovers out there. On entering the pub, you will see three fridges stacked with more than 100 bottled beers. Those chillers contain mainly Belgian brews but also a connoisseur's selection of less well-known US craft beers, such as Sierra Nevada's Kellerweis, Odell's Runoff Red IPA and Two Roads' Ol' Factory Pils. Based 10 minutes' walk out of city centre, it's definitely worth the stroll.
The city's only brewpub filled with lovely, chatty staff. The Cambridge Brew House offers a comprehensive range of cask ales, including some from their very own brewery, alongside beers from other local breweries. In addition, you will also find a large selection of fantastic craft beers on tap from both local and international brewers on the 'Craft Beer Wall', and a broad selection of canned and bottled beers from around the world.
Owned by Greene King, Grain Store is the first of its kind being a dedicated craft beer bar. It's a great looking, trendy pub looking to expose some drinkers to exciting new beers they would otherwise not have encountered. The pub looks out across the adjacent parkland of Parker's Piece and the lovely staff inside will provide you with plastic cups if you want to go and sit on the park in the sun with your drinks. A great place in Cambridge for high-quality craft beers and moreish food.
The Maypole pub has been family-run since February 1982. It is tucked away between Bridge street and Jesus green and can be a little difficult to find, but once found there are many reasons to head there. It is known for having up to 16 real ales on hand pump, a wide range of spirits and liqueurs including 30+ single malts, over 40 gins and a gorgeous outdoor covered and decked area to sit on those hot summer evenings.
Perfected located on the grassy banks of the River Cam, the 19th Century Mill is one of Cambridge's most popular pubs and renowned for its wide choice of well-kept real ales. It is a winner of not one or two, but three CAMRA Awards including Cambridge Pub of the Year 2015. In the summer, you can take your drinks and food outside to enjoy next to the Millpond and in the winter perhaps draw up a chair in the cosy bar and play one of their many board games. Also, a major plus point is that they are dog-friendly, so you can bring your four-legged friend along too.
With this list, you could organise a fantastic pub crawl so I think that's probably just about enough to keep you going for now. For any more recommendations please just ask at our front desk.


text:
Yellowstone is an unincorporated community in the town of Fayette in Lafayette County, Wisconsin, United States.

History
Zenas H. Gurley, Sr. led a branch of the Church of Jesus Christ of Latter Day Saints (Strangite) in the 1850s in Yellowstone.

Notes

Unincorporated communities in Lafayette County, Wisconsin
Unincorporated communities in Wisconsin
Church of Jesus Christ of Latter Day Saints (Strangite)


We're thrilled to announce that Derek will host Superjam - "the most highly anticipated Bonnaroo concert tradition and the festival's signature event" - at this year's Bonnaroo Music and Arts Festival! Featuring Chaka Khan, Taj Mahal, Eric Krasno, James Gadson, David Hidalgo and Adam Deitch, along with special guests Susan Tedeschi, Andrew Bird, Ben Folds and many more, this will be one of the most exciting shows of the summer. For details and ticket info, visit the Bonnaroo site.


We want to be your commercial pressure washers. We have been providing pressure washers for commercial structures for years, and always get the surface clean. We consistently strive to be the best pressure washers San Diego has to offer.


text:
Q: How do I create a snapshot with the Xenserver API I am using C# and the Xenserver API to write a WPF application that emulates XenCenter. I have removed the XenAPI solution from https://github.com/xenserver/xenadmin and implemented in my application; I can successfully start, stop, resume, and clone VM's. Unfortunately I am unable take snapshots for all VM's. I am using two VM's to test the application. Windows XP SP3 (OS not installed, just the VM) and Ubuntu 14.04 Trusty Tahr (OS Installed and works). When I call the snapshot function it works for the Windows machine but not for the Ubuntu machine. Both attempts give similar output in debug (below). I have modeled my attempt after https://github.com/xenserver/xenadmin/blob/master/XenModel/Actions/VM/VMSnapshotCreateAction.cs I would ask Citrix what the problem is but they require pay for support and I'm just a student. Can anyone help?
2015-09-08 11:16:47.3372 DiagTrc Attemping VM snapshot
2015-09-08 11:16:47.3702 DiagTrc Attempting to Snapshot VM Windows XP SP3 (32-bit)...
------Entering if-----
------Executed Disk Snap-----
------VM: OpaqueRef:b410fa67-f0fa-0aec-4db6-0430ae6b795b-----
------Result: -----
VM Snap Completed with possible errors
The thread 0x596a0 has exited with code 0 (0x0).
The thread 0x59b74 has exited with code 259 (0x103).
The program '[366012] WPFClient.vshost.exe' has exited with code 0 (0x0).

public String SnapshotVM(string vmName)
    {
        String retStatus = "Successfully Created VM Snapshot";
        _logger.Debug("Attempting to Snapshot VM {0}...", vmName);

        if (!ValidateActiveVM(vmName))
        {
            retStatus = String.Format("Error: VM not found");
            _logger.Error(retStatus);
        }
        else
        {
          //  try
           // {

                XenRef<VM> vmRef = VM.get_by_uuid(_session, GetUUIDByName(vmName)); //VM = XenAPI.VM
                XenRef<XenAPI.Task> _relatedTask2 = null;
                SnapshotType m_Type = SnapshotType.DISK; //hardcoded snapshot type
                string snapshot_name = "TestingSnapshot";
                string m_NewDescription = "SnapshotTestVM snap";

                System.Console.WriteLine("------Entering if-----");

                if (m_Type == SnapshotType.QUIESCED_DISK)
                {
                   _relatedTask = XenAPI.VM.async_snapshot_with_quiesce(_session, vmRef.opaque_ref, snapshot_name);

                   System.Console.WriteLine("------Executed Quiesced Snap-----");
                }
                else if (m_Type == SnapshotType.DISK_AND_MEMORY)
                {
                   _relatedTask = XenAPI.VM.async_checkpoint(_session, vmRef.opaque_ref, snapshot_name);
                }
                else
                {
                    _relatedTask2 = XenAPI.VM.async_snapshot(_session, vmRef.opaque_ref, snapshot_name);
                   System.Console.WriteLine("------Executed Disk Snap-----");
                   System.Console.WriteLine("------VM: {0}-----",vmRef.opaque_ref);

                }
               // PollToCompletion();  // should probably implement this

                string taskResult = XenAPI.Task.get_result(_session, _relatedTask2.opaque_ref);

                 System.Console.WriteLine("------Result: {0}-----", taskResult);

                if (String.IsNullOrEmpty(taskResult) || !taskResult.StartsWith("<value>") || !taskResult.EndsWith("</value>"))
                {
                    System.Console.WriteLine("VM Snap Completed with possible errors");
                    return "VM Snap Completed with possible errors";
                }
                //string newVmRef = taskResult.Substring(7, taskResult.Length - 15);

               // XenAPI.VM.set_name_description(_session, newVmRef, m_NewDescription);//set vm name/description
          //  }
         /*   catch (Exception ex)
            {
                retStatus = String.Format("Error: {0}", ex.Message);
                System.Console.WriteLine("====> Exception Generated {0}",ex.Message);
                _logger.Error(retStatus);
            }*/
        }

        return retStatus;

    }

redpajama_set_name: RedPajamaStackExchange


Donations from supporters like you will help bring the Low Line to life, connecting the peninsula, providing safe avenues for travel and adding a beautiful green park for all to enjoy.
For donations above $5,000, please write a check to save online banking charges. Checks payable to: Friends of the Lowcountry Low Line and mail checks to: 1630-2 Meeting Street, Charleston, SC 29405.


The San Vito Visconti Castle is a fortress complex of the most extensive and important in Lombardy. Tied to the Visconti family until the end of the twentieth century, today is partly visitable museum and partly place for receptions and ceremonies, to follow you can enjoy cold cuts and cheeses and fine wines.
The San Vito Visconti Castle is a fortress complex of the most extensive and important in Lombardy. Tied to the Visconti family until the end of the twentieth century, today is partly a visitable museum and partly a place for receptions and ceremonies. The building is composed of as many as 3 internal courtyards, each made at different times from the first core erected in the ninth century. The transformation, from a defensive stronghold on the border of the Duchy of Milan to a manor house, was undertaken in 1448 when the two brothers Francesco and Guido Visconti moved here . The extensions and stratification led to the demolition of the church of S. Agnese, which occupied the grounds of the south-eastern side of the castle. In addition to the valuable collections kept within the architectural complex, the castle houses an archaeological museum (finds of the Golasecca civilization, Celtic and Roman) and a collection linked to the Risorgimento.
Salumificio "Unless Colombo & C."
After more than 90 years of experience the company has embarked on a completely new path in the production of Alpine salami. The ten-year experience of more than 15 "cervelë" engaged constantly in search of the best quality, made it possible to give light to any products that are linked to the history of the verdant land of lakes.
Among the many references stand out: Lardo Lonzato "Monterosa", goat Violin, Salame Prealpino Varesino homonymous consortium that has 18 manufacturing companies, the salami and the delicious goat seasoned fillet Grotto. This new vocation, however, has not made him lose the urge to experiment and has produced some simple products, but innovative, like the Bacon "Primamore" to apples, steamed, Prosciutto Cotto Alpine with aromatic herbs and cooked Mortadella liver Grappa Angera.


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