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3D Loader
No full textThere are many different types of 3D model file formats and different software to render them. 3D Loader, a Windows application, is a rendering engine using OpenGL and C++ to apply a graphics algorithm on glTF file format. This project can also generate 2D/3D objects. It is an implementation of basic algorithms such as texture mapping, index buffering, lighting, and shaders, and combines with advanced topics like camera systems and model loading to modify 2D/3D objects, and projects them onto the screen
Community Jukebox
No full textCommunity Jukebox is a streamlined way to provide access to one’s speaker system to guests in a safe, free, and non-persistent manner. Music is an important part of maintaining a social space, and frequently permanently installed copper-wire stereos require tracking down a maintainer to connect or change what’s playing. In situations like a bar or a fraternity’s social room, this is a chore that can be eliminated by simply pointing users towards a URL where they can have input on what they’re hearing. Community Jukebox connects to Spotify’s streaming service to provide the broadest catalogue of music while only requiring the maintainer to keep a subscription. Most smart speakers require each individual to have a premium streaming subscription to interact with anything more advanced than basic Bluetooth functionality. Instead of setting up speakers on a per-user basis, users will point their device to a webpage containing settings to control volume, queue songs, start a playlist, or vote to skip
Icy Tears
Get PDFEmily Loera is a Junior double majoring in Design Studies and Asian Studies. She is on the Women’s Track and Field team and involved in many other organizations on DePauw\u27s campus. She loves to share her art with others, read, and hang out with her friends
Nexus for Broken China
Get PDFJenna Reynolds is a Senior English Writing major. She has written for AMWR in the past and has also written for the Depauw stage (Romeo and Juliet at Bridgerton)
Bird\u27s Eye View-A Guide To Bird Behavior
Get PDFOliver Spencer is a senior writing major from Fort Wayne, Indiana. He loves writing in many genres, but especially creative nonfiction, magical realism, and horror. He is planning on going to graduate school for a degree in library science. Oliver loves birds, theater, and researching
The Weight of Speed
Get PDFCole Pedro is a senior from Griffith, Indiana, majoring in English literature with a minor in creative writing. They use poetry and fiction as outlets for their lifelong love of storytelling
Transcend
Get PDFAnne Gregg is a junior English writing major, Honor Scholar, and Media Fellow at DePauw. She is also the Editor-In-Chief of A Midwestern Review. Recently she’s developed an interest in liminality, Pinterest mood boards, and cryptozoology. Contrary to popular belief, she is not young; she is ancient and rotting
February 2024 Table of Contents Newsletter - Music Library / LibKey Nomad++
Get PDFRead a message from our Music, Media, and Creative Arts Librarian, Sylvia Yang, about one of our streaming media databases, Met Opera On Demand, as well as a useful browser extension for connecting with library subscribed resources when searching across the web
Sarah Ruhl’s Eurydice, Anaïs Mitchell’s Hadestown, and the Postmodern Underworld
No full textSarah Ruhl writes in her opening stage directions for her play Eurydice that the “underworld should resemble the world of Alice in Wonderland more than it resembles Hades.” In Hadestown, which is a musical adaptation of the Eurydice and Orpheus myth, Anaïs Mitchell takes the opposite approach, using a Hades which is depicted as an industrial hell along with the actual characters of Hades and Persephone. Both Ruhl’s and Mitchell’s interpretations of the classical Eurydice and Orpheus story are postmodern approaches that interestingly de-emphasize the focus on Orpheus, the putative hero, himself, and instead turn the audience’s attention toward the marginal and catalytic characters. The devil in Ruhl’s play, the counterpart to Mitchell’s Hades, is depicted first as A Nasty Interesting Man and later as The Lord of the Underworld; both playwrights’ devils are charismatic power brokers who would clearly be right at home in contemporary capitalist society. Both works also adapt the role of the Chorus, which in Greek tragedy comments on the action but is not empowered to alter it. In Ruhl\u27s Eurydice, the chorus is depicted as the three Stones, who “might be played as if they are nasty children at a birthday party,” while in Mitchell’s play, there are three Fates—“three sisters, vicious and delicious, voices in the head”—but also a chorus present in the New Orleans bar at the beginning who transform into the voices of Workers condemned to toil for Hades in the underworld.
This paper proposes to put Ruhl’s and Mitchell’s plays in conversation with one another, arguing that while the two versions of the myth have very different thematic emphases (Ruhl’s piece is ultimately more about language and memory, while Mitchell\u27s is perhaps more about the conditions that allow or prevent love), both encourage us to see the Orpheus story in transformative ways that make room for both psychological realism and the presence of the magical
Review: \u27Linguistics in Pursuit of Justice\u27 By John Baugh (2020)
Get PDFLinguistics in Pursuit of Justice opens by stating that ‘This book is fundamentally about fairness’ (xiii). As the title and succinct opening line suggest, this book explores the role that language plays in mediating social (in)equality, (in)justice, and how the science of linguistics can promote justice and eliminate injustice. In eleven chapters, Baugh examines the linguistic dimensions of sociohistorical, economic and racial inequality, how language use is situated in linguistic stratification and subordination, and the exclusion, discrimination and disadvantage that result from such hierarchies