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The MODE control is the most powerful Supermassive control, as the different algorithms have very different attack, sustain, and decay characteristics. For more details, head to the ValhallaSupermassive Modes blog post. Supermassive uses a variety of feedback delay networks, where each delay in the structure can be up to 2 seconds long. Combine these long delays with the unique WARP control, and the results range from echoes that slowly fade in, to cascading harmonic echoes, to lush reverbs, onwards to reverbs that decay way over the course of minutes.
However, some players have found a way to bypass this by placing structures next to gates and then tethering to them. Empire faction police will not attack players when tethered, regardless of security status meaning other players have no meaningful way to disrupt those tethered. Additionally, regardless of security status, players can dock anywhere to re-ship or hide from would be attackers.
In addition to being attacked by Empire faction police (and unable to cloak or tether) players with security status -5.0 and below (outlaws) will no longer be allowed to dock in any structure or station in high security space while piloting a ship.
Currently, the majority of Abyssal filaments are activated in high security space. The balance between risk and reward is misaligned as this offers very low risk from other players while being highly profitable for the higher tiers. Jita is the most popular area in high security space for running Abyssal encounters. This is due, in part, to a restriction of anchoring deployable structures in Jita. This means that players cannot use these deployables to prevent abyssal runners from immediately activating an Abyssal filament - a previous method of avoiding player aggression.
This immediately removes several safety elements for Abyssal runners. First, they can now be disrupted when leaving an Abyssal encounter and prevented from immediately escaping by entering a new Abyssal encounter. Second, this will increase the amount of travel for Abyssal runners overall, offering more opportunities for other players to attack them, as they will be high value targets.
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The Long 1980s considers the significance of the 1980s for culture and society today. It revisits this pivotal decade via a collection of microhistories from across Europe that span the fields of art, culture, and politics. Central to the stories in this book is the changing relationship between ideologies, governments, and their publics, the effects of which have come to shape the contemporary condition of Europe and beyond. Artists, writers, and activists were responding to and articulating these changes in myriad ways: in the streets, through words, images, objects, and actions. At the same time, new subjectivities were emerging at the intersection of race, class, gender, and sexuality, all voices that were demanding to be heard. The publication is divided into four thematic chapters: 1. No Alternative? (on counter cultures, alternative forms of self-organization and art as activism); 2. Know Your Rights (on civil liberties, the rising planetary consciousness and new ecologies); 3. Processes of Identification (on anti-colonial positions and the drive for sexual and gender equality through culture); 4. New Order (on the far-reaching effects of the neoliberal regime and, finally, the significance of the year 1989). Comprising newly commissioned essays by leading thinkers alongside seventy case studies, including images and archival material published for the first time, this reader offers an invaluable and alternative reading of the recent past. A constellation of over seventy micro-histories, ranging from significant exhibitions or events to publications or key essays are presented across the four sections, spanning the different contexts out of which the research developed: Belgium, Catalonia, the Netherlands, Slovenia, Spain, Turkey and the UK. These case studies are presented through a rich combination of archival material, reproductions or reprinted texts with introductions by curators, historians, and theorists. Editors: Nick Aikens (Van Abbemuseum, Eindhoven), Teresa Grandas (MACBA, Barcelona), Nav Haq (M HKA, Antwerp), Beatriz Herráez (independent curator, San Sebastián), Nataša Petrešin-Bachelez (L'Internationale online). Contributors: Nick Aikens, Henry Andersen, Zdenka Badovinac, Barış Gençer Baykan, Cristina Cámara Bello, Hakim Bey, Manuel Borja-Villel, Rosi Braidotti, Boris Buden, Jesús Carrillo, Bojana Cvejić, Luc Deleu, Ayşe Düzkan, Diedrich Diederichsen, Nazım Hikmet Richard Dikbaş, Corinne Diserens, Merve Elveren, Charles Esche, Marcelo Expósito, Božidar Flajšman, Annie Fletcher, Diana Franssen, June Givanni, Lisa Godson, Teresa Grandas, Nav Haq, Beatriz Herráez, Lubaina Himid, Lola Hinojosa, Antony Hudek, Tea Hvala, Gal Kirn, Neža Kogovšek Šalamon, Anders Kreuger, Elisabeth Lebovici, Rogelio López Cuenca, Geert Lovink, Amna Malik, Pablo Martínez, Lourdes Méndez, Aleš Mendiževec, Ana Mizerit, Alexei Monroe, Meriç Öner, Nataša Petrešin-Bachelez, Bojana Piškur, Marta Popivoda, Carlos Prieto del Campo, Pedro G. Romero, Rafael Sánchez Ferlosio, Igor Španjol, Chris Straetling, Luis Trindade, Erman Ata Uncu, Jelena Vesić, Mar Villaespesa, Vladimir Jerić Vlidi, Ana Vujanović. 2018, Valiz with L'internationale supported by the Culture Programme of the European Union partner: KASK School of Arts, University College Ghent paperback 416 pp. English ISBN 978-94-92095-49-7 Design by George&Harrison. Download table of contents and introduction, and texts by Rosi Braidotti, Diedrich Diederichsen, Lisa Godson and Boris Buden.To purchase the book, please follow this link to the website of our publisher, Valiz
With this display from its collection, the Museo Reina Sofía looks at the art produced in the eighties and nineties in Spain and within the international context. Minimal Resistance focuses on the search by artists for spaces of resistance in a globalized world, and explores the series of dualities which polarize the period in question.
Decolonising Museums is the second thematic publication of L'Internationale Online; it addresses colonial legacies and mindsets, which are still so rooted and present today in the museum institutions in Europe and beyond. The publication draws from the conference Decolonising the Museum which took place at MACBA in Barcelona, 27-29 November 2014 (among the contributors to this thematic issue, Clémentine Deliss, Daniela Ortiz and Francisco Godoy Vega participated at this seminar), and offers new essays, responding to texts published on the online platform earlier this year.
Following the attacks on the creators of the controversial satirical magazine Charlie Hebdo in Paris in January 2015, the shootings at a debate on free speech in Copenhagen, the punishment of the rights activist and blogger Raif Badawi in Saudi Arabia, and the subsequent massive civil mobilisation, the cultural field is forced to process the significance of these events and their wider implications for our work. In Paris and many other instances across continents, representation itself came under attack. Arguably, the field of representation has been in crisis for some time, yet the current context demands that we consider this crisis from different perspectives and historical frameworks. As the public platform of a confederation of museums and art institutions, L'Internationale Online has commissioned a series of opinion pieces that comment on this complex situation in order to start a wider discussion from different cultural and geopolitical contexts. We invited contributors to consider the issues at stake: from questions of manipulated archives and how access to historical documents might play a role in attacks on representation, to what kind of manipulation and victimisation strategies attacks such as these engender.
As varied as it is satisfying, Crossout is a post-apocalyptic MMO action game that gives you the chance to scavenge and craft the materials to build more fearsome vehicles of battle beyond the imagination of any ten-year-old. What more could you possibly want from your online multiplayer games?
Questing and progressing in Star Trek Online plays out like episodes from the TV series: one moment you are wandering through space, the next you are having to do deals with, or shoot lasers at, one of the many franchise belligerents. Be it in spaceship battles or on the ground where gameplay takes the form of a third-person shooter, Star Trek Online does a brilliant job of bringing the storylines and tone of the TV shows into an F2P MMO. It even gets updated regularly like a TV show, with expansions like Victory is Life adding the crew from Deep Space Nine to the game.
The two thousand star systems of the Cooperative once enjoyed a golden age of peace and prosperity, and perhaps the wealthiest of them can still pretend to. The trade ships that once safely travelled between planets now have to be well armed and escorted to fend off pirate attacks, from small-time criminals desperate for their next meal, to powerful robber barons extracting tithes from everyone who passes through their space.
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