Everything is here, and we can imagine outcomes, or sense what might be, or what might have been. The pages seem to function as a kind of notation in which future actions can be imagined, yet they also seem to be at the heart of the work. This is characteristic of Alÿs’s practice and is noted by the writer David Toop:Īmbiguities exist in Alÿs’s work, particularly in the question of documentation that haunts performance… The mixing point of Alÿs’s work comes through files of notes, which collect together drawings, diagrams, textual scribbles. In keeping with the traditions of happenings and Fluxus the works also provide a poetic score for future actions. The lists often end with a hyphen or a preposition missing its accompanying verb, which invites the viewer to consider further additions or interpretations. These works document Alÿs’s own ‘personal’ observations in the city and the use of pencil additions to the typewritten lists imply the ongoing and unfinished nature of the walks. Alongside seemingly mundane requests for directions and references to the weather are mentions of the attempted bombing that had taken place on the London Underground earlier that day, demonstrating the coexistence of the prosaic and the atypical in a metropolis, and how shifts between the everyday and the anomalous affect the behaviour of a city’s inhabitants. The panel titled ‘TO RECEIVE’ does not include a photograph, but contains a typewritten transcript of snatches of conversations Alÿs overheard on London’s Oxford Street over the course of a couple of minutes on 21 July 2005. The artist has described how walking through the city allowed him to explore a wide range of behaviours: ‘You are aware or awake to everything that happens in your peripheral vision, the little incidents, smells, images, sounds … Walking brings a rich state of consciousness.’ (Alÿs in 21 Portman Square 2005, p.48.) Displayed together in a horizontal line, these nine works suggest the significant breadth of behaviour observable in a city and the nuances with which these actions can be interpreted. The final work is titled ‘UNCLASSIFIED’ and brings together more disparate actions, such as ‘to bounce’, ‘to fiddle’, ‘to neglect’ and ‘to run’. Six of these panels include a photograph in the upper right hand corner, which provide a visual synonym to complement the list of possible actions. The texts are all written on a typewriter. The subsequent seven panels are titled with an active verb followed underneath by a list of synonyms. The first work contains the typewritten text of the series’ title printed onto white A4 paper and is dated by the artist in pencil underneath, ‘(July 2005)’. A Personal Repertoire of Possible Behaviour While Walking the Streets in London Town is a series of nine framed works on paper, which document the artist Francis Alÿs’s walks around London in 2005.
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These cards were designed for cameras, where you take a picture and save it, then take another picture and save it – repeat 100 times. In general, when you run an operating system from a SD card, having any amount of swap space is probably a bad idea, because repeatedly writing over the same portion of memory on the SD card will wear it out eventually. A few seconds of searching on Google revealed the reason: Raspbian uses 100MB of swap space. The error message indicates that I did not have enough virtual memory. The term “virtual memory” pointed me in the right direction: In a very simplistic view, virtual memory is the sum of real memory and the size of the swap file/partion on a Unix system. 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Thatch can be grown most anywhere, which can make it easy to locally source. For several reasons, thatch is highly sustainable. Cahill says that people today travel and are exposed to a variety of things, whether it's a Bosch washer, European cars, or thatch roofs. He says it’s a lovely feeling to know you are preserving an ancient building craft, using sustainable/green materials and creating a unique custom product with each handmade roof. "It's the first form of roofing it the world," says Cahill. He has a small forge of his own back in Ohio, where he crafts many of his own tools. Since there are a smaller number of thatchers here, as evidenced by the variety of project locations in their portfolios, nationwide travel is often part of their work.Ĭahill’s tool chest is not of the hammer and nail variety. When a thatched house in Maine was listed for sale it increased traffic on its road enough to draw the attention of the police. While thatch hasn't been as common in the U.S., Cahill estimates that there are thatched buildings in every state. Slevin was instrumental in getting the Smithsonian Institute to sponsor William’s work on the prestigious Jamestown Church project in the historic Jamestown Virginia Settlement in 1986. He mentored under Peter Slevin, the only thatcher in the United States who has been here since the 1950s. William trained with his good friend, the late Peter Brockett, the master thatcher who led the thatch training school for the English Thatchers Association. He has been thatching in the US for over 30 years. Roof thatcher William Cahill, a native of Ireland, is based in Ohio. The Irish Folklore Commission interviewed 600 professional thatchers for an oral history project in the 1940s, but today Letts estimates that fewer than two dozen work full time in Ireland.The Drum Inn of Cockington under a thatched roof "There aren't many of us in it any more." "I'm harvesting more than I can sell," says Peril, who fishes for salmon much of the year. Even South African velt grass has shown up on thatched roofs in Ireland. Patrick Peril used to make a living harvesting reed from the Shannon River, but he says modern thatchers are buying imported reed from Hungary, Turkey and Poland instead. And modern thatching techniques are destroying much of the history because today's thatchers prefer to strip off the old thatch rather than cover it with new layers, Letts says. The Irish government has trained young thatchers in recent years, hoping to preserve the craft, but traditional thatching offers scant employment. It's an extraordinary look at medieval agriculture." "I can find complete ears, with intact grain and straw. "I've seen wheat from the 1300s that was as perfect as the day it went up," says Letts. Medieval thatch, kept dry from the outside and smoked black from the inside, can be so well preserved that excavating it is like digging through centuries of agricultural history. Scraw layers are still found inside some Viking-era structures near Dublin. They tend not to last as long in Ireland because of the dampness and the materials used, but roofs from the 1750s are common. Hundreds of thatched roofs from the 15th century are still in use throughout England. And when maintained properly - the top ridge and the outer layers should be replaced every 10 years - a thatched roof will last for centuries. And perhaps it might not have, if it weren't one of the most efficient, leak-free roofing surfaces ever devised.Ī well-thatched roof, made with the right materials, can last 50 years or more. It's often a wonder thatch has survived at all, he says. You'll find molds, pests - I've seen trees growing out of people's roofs." "You try to manipulate the rate of decay to use it as a roof for a while, but it's alive, and always changing. "I've spent some time up in the rafters, yes," he says.Ī true thatched roof is essentially "a controlled compost heap," Letts says. He spent three years in Ireland excavating roofs in old cottages and can tell you, without looking it up, that the average thickness of scraw is 4.62 centimeters. Few people know thatching more intimately and completely than John Letts, an archaeobotanist at the University of Reading. So you can rely on our products with ease. 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BUTLIN Access Stairs is up to 50 cheaper than traditional scaffolding. online store of Scaffolding and mobile towers of aluminum professionals The moral of the story is: don’t be like me and don’t clutter your blog!īefore I move on to post my results, compressing! You can see that the file sizes are huge except the gifski one (but the outcome looks horrible, I’ll get to that) so it’s important to compress your gifs before throwing it into your posts. Not only that, if you decide on downgrading your plan in the future for certain reasons, or want to take your time before renewing, if your media library is above the GB limit of a lower plan, you can’t post anything on your blog. Some of my older gifs were too big and weren’t compressed and when I encountered a problem with my blog, some of my posts with big gifs were a problem to restore by the WP people. Not just for faster loading, but if your blog is as image-heavy as mine, you might encounter technical problems later on. I also tried ScreentoGif’s high quality option and surprisingly got smaller file size compared to default, but forgot to take the screenshot.įile size is really important. For ffmpeg, gifski, and system, I chose lower quality/smaller size options because it’s important to decrease the file size as much as you can. Below you can see the file sizes and how long it takes to use the options. Apart from the default presets that belongs to ScreentoGif, other extras can be easily downloaded through the software. There are different presets you can try out, I used some of the options for you. You got the frames you wanted, and now it’s time to encode the gif! When you click the ‘save as’ button above, you’ll get the adjusting options as seen on the right. As I got used to the software, I got a better sense of how the outcome would be like so I’m sure you’ll get better in no time as well. I have to mention though, the pace is a bit slower compared to the end result so there were times where the gif looked okay on the software, but on the actual gif, a certain scene was cut too short you only get a glimpse, which looks abrupt. On the lower right, you can see the play button that plays the frames consecutively to give you a sense of how your gif will look. You can manually pick the frames you want to delete or duplicate, so you don’t need to be super precise when you’re hitting the record button. After adjusting the settings, all you need to do is to click record, and then stop to record the portion you want to gif!Īfter you’re done with the recording, what you see are the frames screenshotted by the software. I leave it at 20 fps by default, sometimes increase to 25 if the gif is really short, and do further adjustments later on. The higher the value, the more frames will be added to your gif and smoother it will look, but the ending gif will have a larger file size. You can also see the fps (frame per second) value, which is again, pretty straightforward. It’s very useful because it gives you the option to gif a certain part of the video instead of the whole panel. It’s adjustable and records whatever’s in the frame. Without further ado I present you: Screen to Gif! It’s a very simple and straightforward software, I love it.Īfter launching the software, you can click on the recorder and get a window like the screenshot above. You might get better results depending on the different settings you choose, or discover features that I didn’t. It goes without saying that I don’t know what I’m doing, and what I’m sharing here are the results of my playing around with the software, all trial and error. It's not much, but sometimes people fear bad PR more than anything else.Greetings!! It’s been a while since I’ve posted anything other than The Night Beyond the Tricornered Window and Tackt Op.Destiny, so I wanted to talk about an open source program I use to make my gifs. Where their name comes up in the future on anything, I'll try to keep reminding folks. I've discussed their software here on the site before but will be sure to add a unfriendly disclaimer. I've been doing this a long time and I've never seen a standard commercial software entity do one of these cut-and-paste jobs. Apowersoft rebranding open source work is at best completely unprincipled. That said, even if they did comply with the license requirements, there is what is legally permissible and what is ethical. The thread Smaragdus posted covers some of the license issues, but you are right that the MS-Pl license that governs ScreenToGif does not prohibit commercial distribution, and in fact most open source licenses avoid this requiring either sharing code, attribution, or other requirement. Based on this recent PFDB thread and also looking at ScreenToGif's license the selling of the program is actually allowed by the license but it requires including the license and copyright notice along with it. Using cheats is possible only if an emulator allows it. Not all emulators support all of these features. Basically, a gamer will get the same controls, the same features, and even some advantages.Īforementioned advantages include the ability to take a screenshot, to speed up time, to use cheats and so much more. These emulators are a complicated piece of software that can run most of the classic game ROMs and can do it equally well as the original console. The main and biggest usage of emulators is for gamers who want to play classic games on computers today. Most of the emulators that are developed for computers can run on Android, with a different version of course. 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