Feb 8, 2017 - As a workaround, I'll see if SystemRequest() will do the job on all platforms. On all other platforms there is no difference between moai.
A rendering of a moai Moai ( ), or mo‘ai, are human figures carved by the on in eastern between the years 1250 and 1500. Nearly half are still at, the main moai quarry, but hundreds were transported from there and set on stone platforms called around the island's perimeter. Almost all moai have overly large heads three-eighths the size of the whole statue. The moai are chiefly the living faces ( aringa ora) of deified ancestors ( aringa ora ata tepuna).
The statues still gazed inland across their clan lands when Europeans first visited the island in 1722, but all of them had fallen by the latter part of the 19th century. The production and transportation of the more than 900 statues are considered remarkable creative and physical feats. The tallest moai erected, called Paro, was almost 10 metres (33 ft) high and weighed 82 tonnes (90.4 short tons). The heaviest moai erected was a shorter but squatter moai at, weighing 86 tonnes. One unfinished sculpture, if completed, would have been approximately 21 m (69 ft) tall, with a weight of about 270 tonnes. The moai were toppled in the late 18th and early 19th centuries, possibly as a result of European contact or internecine tribal wars. Moai set in the hillside at The moai are monolithic statues, their minimalist style related to forms found throughout.
- As you may see from pictures 20140.png and 20154.png (Orange MOAI) there is a lot of 'extra material' on the layer junction. It seems that when it stops printing the layer some extra filament gets droppoed and causes this behaviour.
- Official Psyonix Forums. Anyways, I was just wondering if the Moai antenna has been confirmed to be unlockable yet on the Xbox One.
Moai are carved in relatively flat planes, the faces bearing proud but enigmatic expressions. The human figures would be outlined in the rock wall first, then chipped away until only the image was left.
The over-large heads (a three-to-five ratio between the head and the trunk, a sculptural trait that demonstrates the Polynesian belief in the sanctity of the chiefly head) have heavy brows and elongated noses with a distinctive fish-hook-shaped curl of the nostrils. The lips protrude in a thin pout. Like the nose, the ears are elongated and oblong in form. The jaw lines stand out against the truncated neck. The torsos are heavy, and, sometimes, the clavicles are subtly outlined in stone.
The arms are carved in and rest against the body in various positions, hands and long slender fingers resting along the crests of the hips, meeting at the hami (loincloth), with the thumbs sometimes pointing towards the navel. Generally, the anatomical features of the backs are not detailed, but sometimes bear a ring and girdle motif on the buttocks and lower back. Except for one kneeling moai, the statues do not have clearly visible legs.
All fifteen standing moai at Ahu Tongariki. Though moai are whole-body statues, they are erroneously referred to as 'Easter Island heads' in some popular literature. This is partly because of the disproportionate size of most moai heads, and partly because many of the iconic images for the island showing upright moai are the statues on the slopes of, many of which are buried to their shoulders. Some of the 'heads' at Rano Raraku have been excavated and their bodies seen, and observed to have markings that had been protected from erosion by their burial. The average height of the moai is about 4 m (13 ft), with the average width at the base around 1.6 m (5.2 ft). These massive creations usually weigh around 12.5 tonnes (13.8 tons) each.
All but 53 of the more than 900 moai known to date were carved from (a compressed volcanic ash) from Rano Raraku, where 394 moai in varying states of completion are still visible today. There are also 13 moai carved from, 22 from and 17 from fragile red.
At the end of carving, the builders would rub the statue with. Characteristics. Re-erected tuff moai at Ahu Tahai with restored and replica eyes Easter Island statues are known for their large, broad noses and strong chins, along with rectangle-shaped ears and deep eye slits. Their bodies are normally, with their arms resting in different positions and are without legs.
The majority of the ahu are found along the coast and face inland towards the community. There are some inland ahu such as. These moai face the community but given the small size of the island, also appear to face the coast.
Eyes In 1979, and a team of archaeologists discovered that the hemispherical or deep elliptical eye sockets were designed to hold coral eyes with either black or red scoria pupils. The discovery was made by collecting and reassembling broken fragments of white coral that were found at the various sites. Subsequently, previously uncategorized finds in the Easter Island museum were re-examined and recategorized as eye fragments. It is thought that the moai with carved eye sockets were probably allocated to the ahu and ceremonial sites, suggesting that a selective Rapa Nui hierarchy was attributed to the moai design until its demise with the advent of the Birdman religion,. Symbolism Many archaeologists suggest that 'the statues were thus symbols of authority and power, both religious and political. But they were not only symbols.
To the people who erected and used them, they were actual repositories of sacred spirit. Carved stone and wooden objects in ancient Polynesian religions, when properly fashioned and ritually prepared, were believed to be charged by a magical spiritual essence called mana.' Archaeologists believe that the statues were a representation of the ancient Polynesians' ancestors. The moai statues face away from the ocean and towards the villages as if to watch over the people. The exception is the seven Ahu Akivi which face out to sea to help travelers find the island. There is a legend that says there were seven men who waited for their king to arrive. Pukao topknots and headdresses.
In the Markings (post stone working) When first carved, the surface of the moai was polished smooth by rubbing with pumice. Unfortunately, the easily worked tuff from which most moai were carved is also easily eroded, and, today, the best place to see the surface detail is on the few moai carved from basalt or in photographs and other archaeological records of moai surfaces protected by burials. Those moai that are less eroded typically have designs carved on their backs and posteriors. The expedition of 1914 established a cultural link between these designs and the island's traditional tattooing, which had been repressed by missionaries a half-century earlier. Until modern DNA analysis of the islanders and their ancestors, this was key scientific evidence that the moai had been carved by the Rapa Nui and not by a separate group from.
At least some of the moai were painted; was decorated with maroon and white paint until 1868, when it was removed from the island. It is now housed in the, London, but there are demands (2018) for its return to Rapa Nui.
Map of using moai to show locations of various The statues were carved by the colonizers of the island, mostly between circa 1250 A.D. And 1500 A.D. In addition to representing deceased, the moai, once they were erected on ahu, may also have been regarded as the embodiment of powerful living or former chiefs and important lineage status symbols. Each moai presented a status: 'The larger the statue placed upon an ahu, the more mana the chief who commissioned it had.' The competition for grandest statue was ever prevalent in the culture of the Easter Islanders. The proof stems from the varying sizes of moai. Completed statues were moved to ahu mostly on the coast, then erected, sometimes with red stone cylinders (pukao) on their heads.
Moai must have been extremely expensive to craft and transport; not only would the actual carving of each statue require effort and resources, but the finished product was then hauled to its final location and erected. An incomplete moai in quarry The quarries in Rano Raraku appear to have been abandoned abruptly, with a litter of stone tools and many completed moai outside the quarry awaiting transport and almost as many incomplete statues still in situ as were installed on ahu. In the nineteenth century, this led to conjecture that the island was the remnant of a and that most completed moai were under the sea. That idea has long been debunked, and now it is understood that:. Some statues were rock carvings and never intended to be completed.
Some were incomplete because, when were encountered, the carvers would abandon a partial statue and start a new one (tuff is a soft rock with occasional lumps of much harder rock included in it). Some completed statues at Rano Raraku were placed there permanently and not parked temporarily awaiting removal.
Some were indeed incomplete when the statue-building era came to an end. Craftsmen It is not known exactly which group in the communities were responsible for carving statues.
Oral traditions suggest that the moai were either carved by a distinguished class of professional carvers who were comparable in status to high-ranking members of other Polynesian craft guilds, or, alternatively, by members of each clan. The oral histories show that the quarry was subdivided into different territories for each clan. Transportation.
This section may require to meet Wikipedia's. The specific problem is: the section is not chronological with its exploration of different theories and the ongoing debate.
Please help if you can. (June 2014) Since the island was largely treeless by the time the Europeans first visited, the movement of the statues was a mystery for a long time; pollen analysis has now established that the island was almost totally forested until 1200 A.D. The tree pollen disappeared from the record by 1650. It is not known exactly how the moai were moved across the island.
Earlier researchers assumed that the process almost certainly required human energy, ropes, and possibly wooden sledges (sleds) and/or rollers, as well as leveled tracks across the island (the Easter Island roads). Another theory suggests that the moai were placed on top of logs and were rolled to their destinations. If that theory is correct it would take 50-150 people to move the moai. The most recent study demonstrates from the evidence in the archaeological record that the statues were harnessed with ropes from two sides and made to 'walk' by tilting them from side to side while pulling forward. They would also use a chant, whilst 'walking' the moai.
Coordination and cohesion was essential, so they developed a chant in which the rhythm helped them pull at the precise moment necessary. Oral histories recount how various people used divine power to command the statues to walk.
The earliest accounts say a king named Tuu Ku Ihu moved them with the help of the god, while later stories tell of a woman who lived alone on the mountain ordering them about at her will. Scholars currently support the theory that the main method was that the moai were 'walked' upright (some assume by a rocking process), as laying it prone on a sledge (the method used by the Easter Islanders to move stone in the 1860s) would have required an estimated 1500 people to move the largest moai that had been successfully erected. In 1998, suggested fewer than half that number could do it by placing the sledge on lubricated rollers. In 1999, she supervised an experiment to move a nine-tonne moai. They attempted to load a replica on a sledge built in the shape of an A frame that was placed on rollers. A total of 60 people pulled on several ropes in two attempts to tow the moai. The first attempt failed when the rollers jammed up.
The second attempt succeeded when they embedded tracks in the ground. This was on flat ground and used eucalyptus wood rather than the native palm trees. Sign indicating the protected status of the moai In 1986, and the experimented with a five-tonne moai and a nine-tonne moai. With a rope around the head of the statue and another around the base, using eight workers for the smaller statue and 16 for the larger, they 'walked' the moai forward by swiveling and rocking it from side to side; however, the experiment was ended early due to damage to the statue bases from chipping.
Despite the early end to the experiment, Thor Heyerdahl estimated that this method for a 20-tonne statue over Easter Island terrain would allow 320 feet (100 m) per day. Other scholars concluded that it was probably not the way the moai were moved due to the reported damage to the base caused by the 'shuffling' motion.
Around the same time, archaeologist experimented with a 10-tonne replica. His first experiment found rocking the statue to walk it was too unstable over more than a few hundred yards. He then found that placing the statue upright on two sled runners atop log rollers, 25 men were able to move the statue 150 feet (46 m) in two minutes.
In 2003, further research indicated this method could explain supposedly regularly spaced post holes (his research on this claim has not yet been published) where the statues were moved over rough ground. He suggested the holes contained upright posts on either side of the path so that as the statue passed between them, they were used as cantilevers for poles to help push the statue up a slope without the requirement of extra people pulling on the ropes and similarly to slow it on the downward slope. The poles could also act as a brake when needed. Based on detailed studies of the statues found along prehistoric roads, archaeologists and have shown that the pattern of breakage, form and position of statues is consistent with an 'upright' hypothesis for transportation. Hunt and Lipo argue that when the statues were carved at a quarry, the sculptors left their bases wide and curved along the front edge. They showed that statues along the road have a center of mass that causes the statue to lean forward. As the statue tilts forward, it rocks sideways along its curved front edge and takes a 'step.'
Large flakes are seen broken off of the sides of the bases. They argue that once the statue was 'walked' down the road and installed in the landscape, the wide and curved base was carved down. All of this evidence points to an upright transportation practice. Recent experimental recreations have proven that it is fully possible that the moai were literally walked from their quarries to their final positions by ingenious use of ropes.
Teams of workers would have worked to rock the moai back and forth, creating the walking motion and holding the moai upright. If correct, it can be inferred that the fallen road moai were the result of the teams of balancers being unable to keep the statue upright, and it was presumably not possible to lift the statues again once knocked over. However, the debate continues.
Birdman cult. Main article: Originally, Easter Islanders had a paramount chief or single leader. Through the years the power levels veered from sole chiefs to a warrior class, known as 'matatoa'.
The figure of a half bird and half man was the symbol of the matatoa; the distinct character connected the sacred site of Orongo. The new cult prompted battles of tribes over worship of ancestry. Creating the moai was one way the islanders would honor their ancestors; during the height of the birdman cult there is evidence which suggests that the construction of moai stopped. 'One of the most fascinating sights at Orongo are the hundreds of petroglyphs carved with birdman and Makemake images. Carved into solid basalt, they have resisted ages of harsh weather. It has been suggested that the images represent birdman competition winners.
Over 480 birdman petroglyphs have been found on the island, mostly around Orongo.' Orongo, the site of the cult's festivities, was a dangerous landscape which consisted of a 'narrow ridge between a 1,000 foot drop into the ocean on one side and a deep crater on the other'. Considered the sacred spot of Orongo, Mata Ngarau was the location where birdman priests prayed and chanted for a successful egg hunt. 'The purpose of the birdman contest was to obtain the first egg of the season from the offshore islet Motu Nui. Contestants descended the sheer cliffs of Orongo and swam to Motu Nui where they awaited the coming of the birds. Having procured an egg, the contestant swam back and presented it to his sponsor, who then was declared birdman for that year, an important status position.'
Moai Kavakava. Toppled moai At some point after the 1722 visit, all of the moai that had been erected on ahus were toppled, with the last standing statues reported in 1838 by, and no upright statues by 1868, apart from the partially buried ones on the outer slopes of Rano Raraku. Oral histories include one account of a clan pushing down a single moai in the night but others refer to the 'earth shaking' and other indications that at least some of them fell down through earthquakes. Some of the moai toppled forward such that their faces were hidden and often fell in such a way that their necks broke; others fell off of the back of their platforms.
Today, about 50 moai have been re-erected on their ahus or at museums elsewhere. The Rapa Nui people were then devastated by the slave trade that began at the island in 1862. Within only a time span of one year the individuals that remained on the island were sick, injured, and lacking leadership. The survivors of the slave raids had new company from landing missionaries. The society was vulnerable and the converting process of Christianity did not take long. Native Easter Islanders lost their identity as first their style of clothing and soon their tattoos and body paint were banned by the new Christian proscriptions.
The history of their ancestors was destroyed: artwork, buildings, sacred objects; leaving little record of the islanders' former lives. They were then subjected to forceful removal from their native lands and made to reside on a much smaller portion of the island while the rest was used for farming.
'Eventually all pure Rapa Nui blood died out. Annexation with Chile brought new influences, and today there are only a few individuals left with ties to the original population.' Removal. It is forbidden for visitors to climb on the moai. From 1955 through 1978, an American archaeologist, undertook extensive investigation of the production, transportation and erection of Easter Island's.
Mulloy's Rapa Nui projects include the investigation of the and the physical restoration of (1960); the investigation and restoration of and and the (1970); the investigation and restoration of two ahu at (1972); the investigation and restoration of the ceremonial village at (1974) and numerous other archaeological surveys throughout the island. The and the moai are included in the 1972 convention concerning the protection of the world's cultural and natural heritage and consequently on the 1994 list of World Heritage sites. The moai have been mapped by a number of groups over the years including efforts by and Chilean researchers. The EISP (Easter Island Statue Project) conducted research and documentation on many of the moai on Rapa Nui and the artifacts held in museums overseas. The purpose of the project is to understand the figures' original use, context, and meaning, with the results being provided to the Rapa Nui families and the island's public agencies that are responsible for conservation and preservation of the moai. Other studies include work by. In 2008, a Finnish tourist chipped a piece off the ear of one moai.
The tourist was fined $17,000 in damages and was banned from the island for three years. Early European drawing of moai, in the lower half of a 1770 Spanish map of Unicode character In 2010, Moai was included as an in Unicode version 6.0 under the code point U+1F5FF and is represented as such: 🗿 In operating systems that did not come with fonts that natively support all codepoints of Unicode 6.0 or greater, the by George Douros is available, 'free for any use' as per Douros.
The official unicode name for the emoji is spelled 'Moyai'. This is the name of a statue near in Tokyo, which is inspired by Moai from the Easter Island but looks distinct. This has caused inconsistent drawings to be adopted for this emoji by various companies with proprietary emoji images. See also. – The ceremonial sites from which the moai and ahu traditions evolved., carvings of the legendary first man among the Māori and other Western Polynesian cultures., ancestor spirits and deities of the Filipino people, often carved into wooden or stone figures., ancestor spirits of the Chamorro people in Micronesia., large funerary statues of the Mapuche People of South America which resemble the moai., large ancient stone statues in Jeju Island, South Korea which resemble the moai. Notes.
I have an OE30, and I love it! It plays like a dream, you can get the action super-low, and with flat-wound strings it darkens up quite nicely. SOrt of haunting, and if you add a little reverb and play in a minor key women and children will weep. Mine arrived only needing a little tune to play perfect.
It also distorts well, you can even get a little metal with it if you want to. I was going to change out the pickups, but now that it has the flat-wounds there is no need. It really sounds amazing. Read the 'tone tone tone' thread for other things guys have done with theirs and how they like the sound.
The neck isn't the fastest, but it doesn't drag, either. It is not a guitar for shredding anyway. The finish I got is the transparent blue, and it is gorgeous. It gets lots of compliments. I changed the lame gold knobs that it comes with to black ones, which really looks better. If you go to the Oscar Schmidt website I think they have a picture of the sunburst, which looks pretty cool. I didn't order mine, so I got what my girlfriend bought me, but couldn't be happier with the blue.
The OE30 is the best sub-$300 I have ever seen or played. I think that they could get $500 and sell the heck out of them. No idea how they do it.
Here are some pics: I am still getting the hang of my digital camera, but that'll give you the idea. You can't really see how deep the color goes, and the way to wood grain fades through is beautiful. I think it looks bland in my picture, but that is me not the guitar.
The above shows the black knobs. They are the exact same shape, just black. Matches the pickguard. Looks better in this photo. Still not as good as in real life. Didn't notice my fingerprints from earlier on it, either!
Gotta get a cloth to it ASAP. Get one, you'll love it. Features-. great pickups, clean smooth neck, everything wired correctly, binding 'inside' the f-holes? (wow) beautiful finish (black) sounds great with flatwound strings. Quality-.
had to return the blue one i bought because i didn't like the way the stain was applied, the black model was immaculate. Value-.
$149.00? I shoulda bought two overall-. friends who have artcores and epi dots went down and bought one after playing mine.
Both said they thought it was as good in some ways and better in others. Personally after playing theirs i thought mine was overall much better. The workmanship on my indonesian made delta king is flawless. The neck is smooth and the fretwork is better than my $600 Tak. I had to adjust my pup heights, that's about it.
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There was a loose screw on one of the pup adjusters but other than that the setup and everything played out of the box. Get a EPI 335 case for about $70.
The salesgirl tried to tell me it wouldn't fit and that i needed a $100 washburn case but i did some research over at the washburn jam forums and got mine on sale for $59. For $149 you can't afford not to have one of these in your arsenal.
ScottR wrote:Also ditto what lefty said. I love my OE30. I also put flats on mine, and it sounds awesome. I got the sunburst finish.
It's obviously a personal preference, but I think it can't be beat. It's beautiful. More so than the picture would lead you to believe. As I mentioned, mine is the same way. Pictures (at least that I take) don't do these guitars justice.
I think that the sunburst is gorgeous, as is the black. Pick a color, you can't go wrong. One thing that hasn't been mentioned is the tuners. They come with Grover locking tuners on them, which is unreal at this price point.
Mine stays in tune better than any other guitar I own. Also, there is a marked difference between pickup settings, so the tone varies a lot, which I can't get enough of. It's a very flexible guitar. I wasn't kidding about the women and children weeping, either.
I was playing around in Dm just to amuse myself and my girlfriend came into the room and said, 'That's so sad! What song is that?'
I played around a bit longer and then I had to put the guitar down and couldn't play for a while, if you catch my meaning! You gotta be careful, though, because absolute power corrupts absolutely! Oh-the gold knobs on Lefty's black one look really cool. Nice case, too! Gonna have to get one, as I wasn't going to take it out of the house, but now I am going to use it along with the $100 Pair-O-Dice Strat copy I drag around everyhwere I go.
ScottR wrote:Also ditto what lefty said. I love my OE30. I also put flats on mine, and it sounds awesome. As I mentioned, mine is the same way. Pictures (at least that I take) don't do these guitars justice.
I think that the sunburst is gorgeous, as is the black. Pick a color, you can't go wrong. One thing that hasn't been mentioned is the tuners. They come with Grover locking tuners on them, which is unreal at this price point. Mine stays in tune better than any other guitar I own. Also, there is a marked difference between pickup settings, so the tone varies a lot, which I can't get enough of. It's a very flexible guitar.
I wasn't kidding about the women and children weeping, either. I was playing around in Dm just to amuse myself and my girlfriend came into the room and said, 'That's so sad! What song is that?' I played around a bit longer and then I had to put the guitar down and couldn't play for a while, if you catch my meaning! You gotta be careful, though, because absolute power corrupts absolutely! I forgot about the tuners.
They're outstanding. Yes, I caught your meaning Psst.try playng the intro to the Robert Plant song 'Big Log'. Worked for me. Mikespe wrote:Rondo makes the descision a bit tougher:. For only a tiny bit more the Agile is nice and I like the look as well.plus it has the humbuckers, Grover Tuners and Jumbo Frets (which I like!).Shipping was $15 for my zip code.so $215 for a great guitar?
I would like your opinion.if you were chosing between this or the OE30 which would you choose? Thanks I have never held an Agile, but as you know, people around here love them.
I can say, since I own an OE-30 that's what I'd pick. No regrets whatsoever. Save the $65 for a new amp, or put it toward your American Tele. Every little bit helps! That is, unless you really dig the natural finish. If you order the OE-30 you will be amazed when you actually get to hold it. I ogled them at MF for a couple months when one day I came home and there one was-pictures and descriptions cannot do it justice.
It is possible that both guitars are the exact same thing, just different names. I am sure someone here knows more about this than I. The Agile has nicer inlays, so if that's worth $65, go for it! Both Rondo and MF have awesome return policies, so you can't go wrong buying from either place. I like the uncovered humbuckers better than the covered, but I do like those inlays. Weren't you going to buy the Agile Tele? What happened?
Are they worth the dough? Why did you decide to go with the American Tele instead? I would guess that the Fender is a nicer guitar, but how much nicer for almost a grand more?
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I have decided that I will not get an expensive guitar until I am a good enough player to justify buying a White Falcon. Until then I am getting as many cheap guitars as I can!
A Tele copy, a better than $100 Strat copy (and then I am going to frame the Pair-O-Dice so my grandkids will be able to play it!:)), that Agile electric-acoustic (or a Kona), Maybe an OE-40 or the Wildkat, and that Schecter Damien-6 that I have no reason to get except for it is the coolest looking guitar ever (not much of a metal guy, but man! I have noticed that the more I think about and buy guitars, the less I spend money on my vices. It is sure nice to have a guitar to look at instead of a hangover and five bucks left in your pocket to last until Monday. Moai wrote: It is possible that both guitars are the exact same thing, just different names.
I am sure someone here knows more about this than I. I see quite a number of differences just checking out the pictures (without judging): 1. Set neck - bolt-on neck 2. Covered, adjustable pole-piece 'buckers - uncovered, non-adjustable pole-piece 'buckers 3. Block inlays - dot inlays 4. Figured maple top - plain maple top 5. Gold hardware - chrome hardware Doesn't mean one is a better player than the other, but there is a clear difference in the level of materials used.
Craftmanship is another matter, difficult to judge from photos.