Play Win - Slow Motion [PATCHED]
Play & Win was formed in 2000 by Radu Bolfea, Marcel Botezan, and Sebastian Barac, all of whom are from Alba Iulia, a city in the Transylvania region of Romania. Throughout their career, the trio has collaborated with Activ, creating hits like "Superstar", "Dor", "Heaven" and "Lucruri Simple". Other collaborations include 3rei Sud Est's Alături de Îngeri, Sistem's Oare unde eşti, Andra's We Go Crazy, and Inna's House Music. Their production debut came in 2005 with the single Kylie for the Romanian band Akcent. The song peaked in the top 5 of music charts in Belgium, Sweden, Norway, Poland, Russia, Ukraine, and Turkey as well as No. 1 on Netherlands, Finland and Romanian charts.Play & Win produced Inna's first album Hot, released initially in 2009. The album included the single Hot which made Inna the first Romanian artist to top a Billboard chart in the United States when it reached No. 1 on Billboard's Dance/Mix Show Airplay chart. The album also featured charted singles Love, Déjà Vu, Amazing and 10 Minutes, all of which were written and produced by Play & Win. The singles Hot and Love from the album received more than 50 million views on YouTube in the first year of their release. Play & Win also produced I Am the Club Rocker, INNA's second studio album released in 2011. The album was certified Gold in both Romania and Poland and was described by Play & Win as their best record so far. The album contained the single Sun Is Up which peaked at No. 1 in Bulgaria and No. 5 on the UK Dance Chart.
Play Win - Slow Motion
Homer drew upon his experience of the war to create his first oil paintings, many of them scenes of camp life that illuminate the physical and psychological plight of ordinary soldiers. He received national acclaim for these early works, both for the strength of his technique and the candor of his subjects.This picture, exhibited in New York in 1863, was enthusiastically admired and quickly sold. The title refers to the song frequently played by the Union regimental band, a piece that no doubt inspired homesickness and longing in the infantry men who listened to it.
For a short period in the late 1870s, a decorative quality became evident in Homer's art. Blackboard, which continues the theme of elementary education found in many of his oils, epitomizes this development. The studied elegance of the work's design derives in part from its monochromatic palette and in part from the geometric patterning found in the bands of color in the background, the checkered apron, and the marks on the board.The marks on the blackboard puzzled scholars for many years. They now have been identified as belonging to a method of drawing instruction popular in American schools in the 1870s. In their earliest lessons, young children were taught to draw by forming simple combinations of lines, as seen on the blackboard here. Rather than being a polite accomplishment, drawing was viewed as having a practical application, playing a valuable role in industrial design. Homer playfully signed the blackboard in its lower-right corner as though with chalk.
Homer spent several months during the summer and late fall of 1878 at Houghton Farm, the country residence of a patron in Mountainville, New York. There he created dozens of watercolors of farm girls and boys playing and pursuing various tasks, including Warm Afternoon. Painted quickly and often outdoors, these watercolors present idyllic scenes of rural life that follow in the European tradition of pastoral painting.
Homer returned to New York in 1882 and faced the challenge of finding a theme as compelling as that which had occupied him in Cullercoats. Homer had almost always set up an emphatic juxtaposition between the role of women on the shore and that of the men on the sea. As the women determinedly went about their own business, confronted with the inexorable prospect of separation and loss, the men faced tangible physical peril in their constant battle with the elements. In the paintings (and subsequent graphic depictions) of the 1880s, Homer occasionally merged the two themes. The etching Saved, a powerful, highly classicized representation of herioic struggle is based on Homer's 1884 oil painting The Life Line. The wet drapery clinging to the woman's solid form, the anonymity of the rescuer, whose face has been obscured by the scarf as wind and waves swirl about them, all help to convey the sense of physical and emotional exhaustion and the protagonist's heroic effort to triumph over nature's fury.This remarkably fertile period in Homer's career brought him great critical acclaim. The Life Line was an immediate success, but Homer's work held little commercial appeal. Its striking composition and strong dramatic mood did not match the prevailing aesthetic taste. After viewing Homer's work in a National Academy exhibition, one critic remarked that his paintings had a "rude vigor and grim force that is almost a tonic in the midst of the namby-pambyism of many of the other pictures on display."
Eight Bells, one of Homer's best-known paintings and the last of the series of great sea pictures that had commenced with The Life Line three years earlier, was completed in 1886 but not shown until 1888. The title refers to the sounding of eight bells done at the hours of four, eight, and twelve a.m. and p.m. Two sailors dominate the foreground, but the details of the ship and its riggings have been minimized. In the etching above, one of his finest, Homer has de-emphasized the background rigging and sky even further to underscore the figures' monumentality.Homer's depiction seems to transcend "mere realism" and reveal an element of heroism in the mundane activities of his protagonists. A contemporary critic noted that the artist "has caught the color and motion of the greenish waves, white-capped and rolling, the strength of the dark clouds broken with a rift of sunlight, and the sturdy, manly character of the sailors at the rail. In short, he has seen and told in a strong painter's manner what there was of beauty and interest in the scene."
The Winslow Homer Web feature was designed and produced by Donna Mann and edited by Amanda Sparrow. The text has been compiled from various Gallery sources, including exhibition brochures, catalogue essays, and wall texts written by Charles M. Brock and Franklin Kelly in the Department of American and British Paintings and Margaret Doyle in the Department of Exhibition Programs. The video program excerpted here was produced by the Division of Education. Thanks to Charles Brock, Franklin Kelly, Margaret Doyle, Barbara Moore, Amy Lewis, Rachel Richards, Leo Kasun, the Department of Imaging and Visual Services, and the Publishing Office for their assistance with this project.
There is a particular undertow of unease that comes with working all day at a desk and then playing video games at night. They are simply too similar: the glassy stare, the troublesome posture; tasks, buttons, screens. (Worse, of course, under Covid, when you might not even change rooms, or chairs, or screens.)
All these aspects clearly apply to The Stanley Parable, with its empty hallways and first-person minimalism (not to mention its frequent poking at the tension between work and play). But where walking simulators were generally melancholy, The Stanley Parable was antic. And where most told a single, predetermined story, The Stanley Parable was essentially concerned with player choice.
The pleasure of being anticipated can become a little queasy as it is repeated; wherever you turn, the game rises to meet you, one step ahead. The Stanley Parable has a lot of fun with this creeping sense of benevolent imprisonment, reminding players as often as possible that there is no way out of its labyrinth of self-reference. Wreden and Pugh have even incorporated what were once genuine mistakes back into later versions of the game, rather than removing them.
Once everyone is milling about comfortably the players now start to move in slow motion. Next all the players are endowed with poisonous blades built into their fore arms. The object of this warm up is to touch other players with the poison edge of their sword-arms. The challenge is that players must must must maintain slow motion.
If anyone is touched by the fore arm of another player they will suffer the effect of the poison, also in slow motion. Historically the poison has been lethal and the poisoned players slowly died an over dramatic death and come to rest on the floor. However the poison could have any affect the leader decides: sleeping poison, laughing poison, become a plumber poison. Regardless of the effect of the poison the player ends up motionless on the floor. The warm up ends when there is a large pile of bodies on the floor.
Il trio si formò nel 2000 da Radu Bolfea, Marcel Botezan e Sebastian Barac, tutti e tre di Alba Iulia. Durante la loro carriera, il trio ha collaborato con Activ, creando hits come "Superstar","Dor","Heaven" e "Lucruri Simple". Altre collaborazioni includono Alături de Îngeri, Sistem's Oare unde eşti, Andra's We Go Crazy con 3rei Sud Est e House Music di Inna. Debuttano nel 2005 con la produzione del singolo Kylie per la band rumena Akcent. La canzone raggiunse la top 5 in Belgio, Svezia, Norvegia, Polonia, Russia, Ucraina e Turchia, e la prima posizione in Finlandia, Paesi Bassi e Romania. Play & Win hanno prodotto l'album Hot di Inna, pubblicato nel 2009. L'album include il singolo Hot che rese Inna la prima cantante rumena ad entrare in una classifica di Billboard negli Stati Uniti quando raggiunse la prima posizione nella classifica Mix Show Airplay. L'album contiene anche canzoni come Love, Déjà Vu, Amazing e 10 Minutes, tutti scritti e prodotti da Play & Win. I singoli Hot e Love hanno ricevuto più di 50 milioni di visite su YouTube nel primo anno di uscita. I Play & Win hanno anche prodotto I Am The Club Rocker, il secondo album di Inna pubblicato nel 2011. L'album è stato Disco d'oro sia in Romania che in Polonia e, a detta degli stessi Play & Win, è stato il loro maggior successo. L'album contiene il singolo Sun Is Up che ha raggiunto la prima posizione in Bulgaria e la posizione numero 5 nella Official Dance Chart I Play & Win hanno inoltre collaborato con Andreea Bănică, producendo il suo primo singolo Sexy nel 2010. 041b061a72