Master of the Universe | Fifty Shades Of Grey Wiki | FANDOM powered by Wikia Master of the Universe (MotU) was a Twilight Saga fanfiction that evolved into the Fifty Shades trilogy. It was written by EL James under the pen name Snowqueens Icedragon. MotU vs. Fifty Shades: Characters In most instances, the personality traits, appearances, and familial relationships inherited from Twilight stayed intact in MotU (and hence, in Fifty Shades). The following characters have the same names in both MotU and Fifty Shades. Phoebe Sophie Theodore "Ted" Raymond Grey <--> Thomas "Ted" Edward Cullen Goes by Ted/Teddy in both MotU and Fifty Shades Dr. Notes: Rosalie and Emmett do not have a child in the Epilogue of MotU. MotU vs. The plots of both MotU and Fifty Shades are largely the same, and only differ on minor points. The backstory between Jacob/Bella in MotU was changed in the shift to Fifty Shades. Taylor and Mrs. MotU vs. Several characters in MotU have first or last names matching characters in Twilight.
Lostpedia - The Lost Encyclopedia Realistic Cast Shadow Effect In Photoshop Written by Steve Patterson. Photoshop’s Drop Shadow layer style may be great for adding simple shadows to images or text, making them look as if they’re floating slightly above their background, but when it comes to creating more realistic looking shadows of people or objects, the standard Drop Shadow just doesn’t cut it. In this tutorial, we’ll learn an easy way to create a realistic cast shadow effect! Here’s the photo I’ll be using for this tutorial: The original image. Here’s how it will look with the shadow applied: The final result. Let’s get started! Step 1: Select The Person Or Object Before we can add a shadow to someone, we first need to select them. Select the person or object in the photo. Step 2: Copy The Selection To A New Layer With the person or object selected, press Ctrl+J (Win) / Command+J (Mac) on your keyboard to quickly copy the selection to a new layer. The selection appears on a new layer above the Background layer. Step 3: Add Extra Canvas Space If Needed
Headmap Redux location aware devices localisation . community and spatial interfaces . location aware devices . nomads . mapping sex . future architecture [life without buildings] . unlearning . new geography . community schisms . waypoints headmap redux wearable computing, retinal displays, distributed wireless mesh networks and semantic web standards are the foundation of an outside internet. The space, the social network, thinking tools and the network interface in the same field of view. The boundaries between what is interior and what is exterior intersecting tangibly in front of your eyes. It has been said that 80 percent of human knowledge has a spatial aspect – yet at the same time the Internet has largely ignored this. introduction know your place there are notes in boxes that are empty every room has an accessible history every place has emotional attachments you can open and save you can search for sadness in new york paths compete to offer themselves to you life flows into inanimate objects 3).
Jaxxon "Jaxxon. You can call me Jax for short…which I ain't." ―Jaxxon[src] Jaxxon was a quick-witted Lepi smuggler from Coachelle Prime. The most rambunctious of his family's thirteen children, he left his homeworld at an early age, after stealing an unprotected freighter. He made his way to Nar Shaddaa, where he began to perform odd jobs, quickly becoming familiar with the important elements of fringe culture. Later, Jaxxon paired up with one of his fellow Star-Hoppers, Amaiza Foxtrain, to help him in his smuggling business. Biography Edit Early life Edit Jaxxon was born on the planet Coachelle Prime to a small family by Lepi standards. On a course for the Outer Rim Territories, Jaxxon eventually landed on Nar Shaddaa, the Smuggler's Moon. Starved for a source of income, Jaxxon decided to pursue a career in smuggling. Star-Hoppers of Aduba-3 Han Solo: "I saw that, rabbit…" Jaxxon: "Well, hooray for your side! Han Solo: "I heard: A meat-eater…one that needs a job right?" ―Jaxxon meets Han Solo[src]
The Bézier Game - tuto illustrator Headmap headmap.pdf mapping out spatialised computing [95pp : 2.3MB : 10/03] headmap manifesto first released [SF : London : NYC] 1999 [reviews and remarks] headmap The space, the social network, thinking tools and the network interface in the same field of view. there are notes in boxes that are empty every room has an accessible history every place has emotional attachments you can open and save you can search for sadness in new york people within a mile of each other who have never met stop what they are doing and organise spontaneously to help with some task or other. in a strange town you knock on the door of someone you don't know and they give you sandwiches. paths compete to offer themselves to you life flows into inanimate objects the trees hum advertising jingles everything in the world, animate and inanimate, abstract and concrete, has thoughts attached
Et si “Breaking Bad” était un film de 2 heures ? le 13 mars 2017 à 17:15 Une bande de passionnés de la série a décidé de remonter les 5 saisons de Breaking Bad pour en faire un film de deux heures. Un travail énorme qui leur aurait pris plus de deux ans. Les auteurs précisent : “Il n’est donc pas question ici de fan-film, qui regrouperait les meilleurs moments de la série, mais bien de création d’une histoire pour servir au mieux les contraintes qu’implique un long-métrage. Un Breaking Bad alternatif, à regarder d’un œil neuf.” Si le résultat est très loin de rendre compte de l’ampleur dramatique de la série, qui, par essence, se déploie sur la durée, le résultat tient debout et représente une alternative intéressante pour ceux qui seraient curieux de se (re)plonger dans l’univers de Breaking Bad sans forcément s’attaquer aux 5 saisons et 62 épisodes de 50 minutes de la série. Bruno Deruisseau
Electric Sheep Panopticism Keynote address for "Earth to Avatars"26 October 1996 Mark Pescempesce@netcom.com Part One: A Brief History of the Virtual Word What is interesting is that we’ve never envisioned cyberspace as anything but a social space. Gibson’s Matrix was filled with users - legal and illegal - AI’s and, when it changed, the Loa of Voudon. Gibson dreams his tech but Stephenson has it down cold; so everything in the Matrix is perfect, while The Street, populated with barbies and low-rez avatars gave us a real direction, a real vision. The success of The Palace and Alphaworld - which must be admitted as immature technologies - proves the existence of a powerful drive to connect. Because connection is the only thing in that space is real, the only thing that persists after the servers go down and the networks jam up. An avatar, then, serves one purpose above all - as a vehicle of communication. Part Two: Self in Cyberspace What does this digital incarnation of the self communicate? Cyberspace: First Steps.
Global Consciousness Project