Official Match Thread Season 33 Round 12 Las Vegas Bears vs Fighting Furies at The Stadium In The Sky

[Senor M]

Sorry it's Russian.

We don’t talk about Russia here

 

[Pickitt]

Hey Bears!

 

[Pickitt]

Why would you say such a cruel thing, you know I am sensitive about my weight.

Poor tony

 

[Test Tickle]

I got mashed potatoes.


Fitting because I'm so warm and creamy

PLEASE…I’m trying to eat my dinner!

 

[Test Tickle]

Hey Bears!

wot?

 

[Pickitt]

wot?

I said hi

 

[tony]

Hey Bears!

The king spammer has arrived. How many posts are you aiming for this week.

 

[TJASTA]

Aye, that does make sense.

 

[Test Tickle]

I said hi

oh

 

[ImissFrosty]

Aye, that does make sense.
View attachment 1378265

Well you are a cheap thrill I guess

 

[Senor M]

Hey Bears!

Hey Junior!

How’s the rest of your holidays going? Have you burnt through the family internet allowance yet?

 

[TJASTA]

Hey Junior!

How’s the rest of your holidays going? Have you burnt through the family internet allowance yet?

Who still has an internet allowance? Are ye still livin' in 2010?

 

[Pickitt]

oh

Issue?

 

[Pickitt]

Hey Junior!

How’s the rest of your holidays going? Have you burnt through the family internet allowance yet?

I haven't slept in 6 days.
Other than that I'm good, how're you.

 

[Senor M]

I haven't slept in 6 days.
Other than that I'm good, how're you.

6 days?!?!?

Are you living off Red Bull, Cheezels & left over Dominos at this stage?

 

[Pickitt]

6 days?!?!?

Are you living off Red Bull, Cheezels & left over Dominos at this stage?

I no longer require food.
My posts feed me.

 

[thewizardmelon]

Watch out Bears, rumor has it this mob are aiming for 10k posts in this here match thread.

Take your potato outcome and run and hide, now!*

*don’t take the pizza quiz, it’s definitely racist

 

[Party Gull]

Medieval mechanics and the machine revolution
A profound discrepancy takes place in the Western world between theoretical and applied mechanics - as indeed had always
happened in the Greek world where “this beloved art of mechanics” was considered an art which made use of “objects that
were suitable only to common and uncouth workers” [Plutarch, Parallel Lives: Marcello, 14, 17,19]. The application of
simple machines such as the lever, the inclined plane, the wedge and screw by scholars such as Jordanus de Nemore (13th
century), or the scientific but philosophical and theological doctrine of William of Ockham (1300 - 1350), the impetus of
Jean Buridan (Johannes Buridanus, c. 1300 - 1358) and even the development of geometry by Albert of Saxony (Albertus de
Saxonia, 1193 - 1280) and Nicolas d’Oresme (14th century) – a disciple of Jean Buridan - paved the way in the thirteenth and
fourteenth centuries for the important contributions made by Leonardo da Vinci (1451 - 1519) and the mechanical
developments made by the engineers of the Renaissance [Gille, 1980; Galluzzi, 1996].
Nevertheless, the scientific field is crossed by architects and architectural scholars such as Jacopo Barozzi da Vignola (1507 -
1573) [Corradi & Filemio, 2005], and a slow conquest and acquisition of principles takes place through the use of simple,
intuitive tools like simple machines [Duhem, 1902; Duhem, 1903; Clagett, 1972]. The development of mechanical objects by
Simon Stevin (1548 - 1620), and later Salomon de Caus (1576 - 1630) would introduce the concepts of equilibrium and work,
essential tools to start the great development of seventeenth century mechanics with Marin Mersenne (1588 - 1648), Gilles de
Roberval (1602 - 1675), Pierre Varignon (1654 - 1722), Christian Huygens (1629 - 1697), and to undertake the scientific
revolution of the seventeenth and eighteenth centuries which would bring new mathematical tools of differential and integral
calculus into modern mechanics [Corradi 2002; Corradi 2003].
The Renaissance is thus the moment of maximum brilliance in machine “invention”, developing imaginative contraptions for
war, to raise water, to build mills, to build bridges to cross rivers, to sail the seas and travel under the sea, even if - as Paolo
Galluzzi writes - “il ‘rinascimento delle macchine’, [è] sovrastato e oscurato da quello delle lettere e delle arti / the
‘renaissance of the machines’, [is] dominated and overshadowed by that of literature and the arts.” [Galluzzi, 2001: 942]. In
fact, the first strictly technical manuscripts start to appear towards the mid fourteenth century, and are particularly
characterized by their illustrations. In his Texaurus regis Francie, Guido da Vigevano (1280 c. - 1349 c.) depicts
technological objects and ingenious devices that shine a light on medieval mechanics [Bibliothèque nationale de France: cod.
lat. 11015; Ostuni, 1993]. In Bellifortis, Konrad Kyeser (1366 - d. after 1405) illustrates (about 1405) war devices to be used
by the powerful rulers with whom he collaborated [White, 1969].
Referencing and quoting from classical and modern authors, these authors not only wrote in a high-level literary style, but
illustrated mechanical devices (especially for warfare) to solve everyday manufacturing problems that would grow the
welfare of the population in times of peace: mills, winches, systems for raising water, and so on. In little more than two
centuries, Filippo Brunelleschi (1377 - 1446), Mariano di Iacopo known as “il Taccola” (1381 - 1453), Roberto Valturio
(1405 - 1475), Francesco di Giorgio Martini (1439 - 1501), Agostino Ramelli (1531 - 1608), Giovanni Fontana (1540 -
1614), Fausto Veranzio (Faust Vrančić, 1551 - 1617), Vittorio Zonca (1568 -1602) and Giovanni Branca (1571 -1645) - to
name only the most notable - initiate a technical and scientific revolution which would result, on one hand, in the
development of mechanics and especially mechanics applied to machines and buildings, and on the other in the invention of
imaginative machines, archetypes of the modern mechanical revolution – which would spring from the Industrial Revolution
in the second half of the eighteenth century [Ashton, 1948] – characterized by the use of generalized machines operated with
mechanical energy due to the discovery of new energy sources such as fossil fuels.
A century before the important innovative proposals by Leonardo da Vinci (1452 – 1519), this set of mechanical
anticipations started a scientific revolution of machines which would reach its climax with the scholar from Vinci and in his
manuscripts, which go beyond mechanics in the strict sense of the term, but also channel architecture, science and building
technology in general. Galluzzi still emphasizes how “Leonardo non appare più come un profeta visionario e inascoltato, ma
viceversa come l’uomo che più eloquentemente ha saputo dar voce e visibilità grafica alle utopiche aspettative circa le
possibilità delle tecniche entusiasticamente condivise da molti artisti-ingegneri del Quattrocento / Leonardo no longer
appears as a visionary and unheeded prophet, but vice versa as the man who most eloquently was able to give voice and
visibility to utopian expectations about the possibilities of techniques enthusiastically shared by many artist-engineers of the
fifteenth century” [Galluzzi, 2001: 942]. Brunelleschi, Taccola, Valturio, Francesco di Giorgio Martini, Ramelli, Fontana,
Veranzio, Zonca, Branca are artists-architects-engineers, men of science and literature, in the true sense of the term
Renaissance, able to address and discuss artistic and scientific topics at the same time. Valturio’s siege tower and warship are
an example of ‘artistic engineering’ where the machine is based on the iconographic representation of a dreamlike fantasy
that anticipates the war machines of centuries to come.
Leonardo is not only a visionary prophet of the following centuries’ technological revolution, but also represents the turning
point for the utopian vision of the technical possibilities already announced by the artists-architects-engineers of the fifteenth
century; his ‘inventions’ are a transmigration of imaginative and revolutionary ideas in the field of mechanics, engineering
and architecture that would foster characters such as Filarete (Antonio Averulino or Averlino; 1400 c. - 1469), Aristotele
Fioravanti (1415 - 1486 c.), Francesco di Giorgio Martini, Fra ‘Giocondo (Giovanni Monsignori, or Ognibene, known as Fra
Giocondo, 1433 c. - 1515), Leonardo da Vinci, Giuliano da Sangallo (1445 - 1516), or Gregory Georgius Agricola (1494 -
1555) and many others, the early adopters-promoters of a renaissance of the machines, true expression of the technical-
scientific revolution of the Enlightenment period and nineteenth century. Their projects range from the architecture of palaces
and fortresses to the construction of bridges, waterways and dams; the invention of a new way of building fortifications and
war instruments, the design and construction of aqueducts, and even machines and devices to improve work and bring new
technologies in the various fields of manufacturing, quarries and mines; or even machines to enrich the imagination of theater
performances and courtyard parties, with tools that produce special effects that affect the attention of spectators.
Through the writings of these scholars, the culture of machines spread out in the cultured circles of courts and thinkers whose
widespread proliferation is evidenced by the numerous manuscript copies preserved in the most prestigious libraries of the
world. Although at times incomplete and lacking of content, they collect numerous Quesiti et inventioni diverse, to quote the
refined mathematician Niccolò Tartaglia (1499 c. - 1557). In La Nova Scientia [Tartaglia, 1558] and Quesiti et inventioni
diverse [Tartaglia, 1546] Tartaglia develops mathematical sciences (arithmetic, geometry, algebra, statics, topography,
artillery, ballistics, fortifications, etc.) that are the basis of the revolution of the Renaissance machines. The illustrations
linked to the first Renaissance editions, which include the machines (machinatio) of the De architectura by Vitruvius (c. 80
B.C. – c. after 15 B.C.), serve as an example for the editions of the Treaties of the artists-architects-engineers throughout the
Renaissance; an extraordinarily rich apparatus of evocative images in various forms of expression becomes a necessary
corollary for the description of ‘new’ machines. Furthermore, because the textual description of the object or invention is no
longer enough to describe individual details, specifics and innovations which scientific and technical knowledge has not yet
reached, illustration becomes an indispensable addition that explains the project idea down to its finest understanding.
Artists-architects-engineers are thus able to approach, describe, illustrate and explain with adequate discernment and
expressiveness the themes of architecture, engineering, and machinery. Francesco di Giorgio emphasizes that those who write
treaties on architecture and machines without possessing the fundamentals of drawing are poor in content, and points to how
Leonardo da Vinci proudly claimed himself a “omo sanza lettere / man without letters”. In fact, understanding the enormous
divulging potential of illustrations, artists-architects-engineers made a mature and conscious use of drawings with the intent
of integrating and enriching the content of their writings. The philosophy of nature becomes that of science and technology,
and illustration becomes the tool for its declination in distinct and different forms of human planning. Drawing - and the
geometric aspects of drawing – becomes a sign that announces, exhibits, tells the idea or project and transcends into a real,
palpable object; an instrument that unearths the ability of observation, planning and mechanical skill to interpret the mysteries of nature and of human ingenuity.

 

[ImissFrosty]

Watch out Bears, rumor has it this mob are aiming for 10k posts in this here match thread.

Take your potato outcome and run and hide, now!*

*don’t take the pizza quiz, it’s definitely racist

Thanks Wiz. Just remember there were too teams in that match thread

 

[Greenery]

Pokemon are conceptually not very sexy - that’s an assumption you might make. You might, but you’d be wrong. Pokemon ****. You’d know this if you frequented the darker corners of the internet. Many a ‘Mon have been fan-illustrated in a variety of sordid scenes and poses, so clearly the appeal is there. Having a fair amount of experience in exploring my thirst for video game characters in my illustrious career, I took it upon myself to explain to you, dear VG247 reader, just why I consider some Pokemon so alluring.

Before we begin, I have to lay (yes) some ground rules. As of the most recent mainline releases in the Pokemon series, Pokemon Sun and Moon, there are 812 Pokémon throughout all eight generations. That’s quite a lot to narrow down into just 14, and a lot of them are very sexy. So, here’s the criteria that I’ve used to determine my final list.

 

[Test Tickle]

Issue?

not yet

 

[Supersuns]

Okay.
Bears.
Furies.
Not TJASTA
Let's do this

 

[Dewyyyyy]

Gday all.

 

[TJASTA]

Okay.
Bears.
Furies.
Not TJASTA
Let's do this

We'll hang ye by the gibbet, ye chum-smellin', pestilent sea bass

 

[Supersuns]

We'll hang ye by the gibbet, ye chum-smellin', pestilent sea bass

Kiss me pirate daddy