Art Radar | Contemporary art trends and news from Asia and beyond | Page 40
//btcmu.info btcmu.info btcmu.info of-God- /ip/HQRPV-AC-Adapter-Sony-AC-ESRS-XSRS-XB3-AC- EU Buy Mad Catz Saitek Pro Flight X Rhino H.O.T.A.S. (Hands on Throttle and Stick) System for PC with fast shipping and top-rated customer service. Newegg. btcmu.info btcmu.info -Your-Marriage-Updated-and-Expanded-Edition/PRD78HLFMEH9RNP daily Sofa-Cover-Loveseat-Couch-SlipcoversxInch/PRD7B4JY4I2A8UG .
We also wanted to make it highly customizable with plenty of programmable buttons and rotaries to accommodate even the most hardcore of sims. One of the things we hear the most is about the tension in the throttle and the stick. For the stick tension, we went completely out of the box on our thinking.
Saitek X-55 RHINO H.O.T.A.S. System Interview with Tim Di Iullo from Mad Catz
There are so many varying opinions in the flight sim community on what the tension in your stick should feel like. Why not give the pilot the ability to change the spring out and put in a completely different spring?
Or no spring at all, for all the helo pilots out there? How do you view the health of the flight sim genre or the racing sim genreand also how they view the future for PC gaming? The flight sim genre is starting to pick up again after some down time.
These things tend to be cyclical, but Microsoft kind of threw the community a screwball by releasing Flight and then discontinuing support so soon after launch. A game like that practically demands that higher-end controllers like a HOTAS be used for full immersion. Is Saitek also looking at producing controllers for things like Steam Box, next-gen consoles, etc.? We are always reviewing and analyzing the simulation market place, when we say simulation we mean the whole simulation world not just flight.
The site advertises multiple spring tensions that can be changed to suit the user. What spring tension selections are they? The longer the spring, the more tension in the stick and you can really feel the difference in stiffness. Or, is this in fact even a problem? One of our greatest strengths is our build quality.
This of course has knock-on effects, one of those being that all our products last a lot longer than we anticipate. Some of our products have been in the market place for many years.
Take the original X52 for example, this was released in It is inevitable that it will have a little wear and tear. Having said that we have yet to see an example of the spring wearing away the spring cone and we would be interested to hear from anyone who is having this problem.
You can always reach our tech support at http: How closely are you working with simulation developers like Studios and Eagle Dynamics to create scripts that correspond to the real aircraft used in the game? What our software allows you to do is to create different profiles where you can really tweak the settings to reflect individual aircraft, save these profiles, and then switch seamlessly between those profiles with just a couple mouse clicks in the system tray. We do have good relationships with most of the businesses and communities in the flight simulation world, for most of the scripts we will make them ourselves and post them onto our website for the community to download.
Naturally we also encourage our end users to send in their profiles to us so we can share them with the rest of the community as well. It looks like from the pictures that there might be an option to remove the joystick from the base.
X rhino users update for ghosting buttons - ED Forums
Installation view at the Lahore Museum, Lahore Biennale 01, The stories that they tell are descriptive and devastating, and encourage reflection on historical pasts. This work has been commissioned at other festivals across the world, including the Edinburgh Arts Festival which was located at the Old Royal High School Imran Qureshi Contemporary miniature artist Imran Qureshi was commissioned to release a series of paintings, installed at the Shahi Hammam for the biennale.
The works explore a variety of painting techniques. In one of the paintings pictured abovethe large canvas holds the violent marks of an explosion. However, this image has the dual function of also promising a re-birth in a cosmic sense.
There is a blue sphere located at the centre of the composition, and the chaos of the marks that surround it are a combination of red and blue moving in all directions.
This work could be a metaphor for the position of individuals in shifting landscapes, and the impact of these shifts on society.
As the figure goes round and round, the pacing changes from faster to slower, then the speed is resumed again. The viewing of the video causes a sense of disorientation. In some parts, the granular quality of the work abstracts the figure and the clothing to make it appear more organic in form. At some point, the image momentarily shifts to a possible garden or a landscape, a shift that is more prominent at the end of the video.
These artists have worked together for over 20 years on topics that include memory, identity and creative resilience, among others. Some of their light works are sculptural, realised from a series of neon tubes. Efflorescence denotes radiance, the blooming of a flower and the flowering of civilisation, but also has negative values such as discoloration.
The utilisation of the neon material in this scale and medium is in direct conversation with commercial signage. For the Lahore Biennale, the collaborative duo created a large-scale neon installation in the Summer Palace in the Lahore Fort, which was built during the seventeenth century as a retreat from summer heat for the Mughal royalty.
Built deep under the Fort platform, the cavernous space has dark interiors, mysterious channels for water circulation and hidden passageways.
The effect is a surreal landscape filled with red and blue hues for the audience to navigate. The work, in two channels, presents two side by side video images. The left side shows a theatre filled with audience members who are all male, while the right side shows a theatre with empty seats. A few moments in and the screen on the left has a male come onto the stage greeted with the applause of the all-male audience.
The male character on the left stage beings to sing, while the female figure on the right screen stands in silence. About halfway through the work, the men on the left frame go silent, as the woman from the right screen begins to sing, and the camera pans around her to show her face. The work ends in silence from both screens. A poignant commentary on the situation of women in her native Iran, the work subtly addresses issues of gender discrimination, identity and social alienation.
The footage depicts the ruins of a building that was once an observatory. This subject matter is of particular importance to Khan.
This work describes the impact of globalisation of people in vulnerable territories. In turn, what is also addresses is the relationship between that specific place and the people who live there, and the idea that times of conflict affect perceptions and relationships. Her piece is an interrogative inquiry into the social realm and raises questions about the potentials and limits of artistic agency.