![]() ![]() The later DSP-1A and DSP-1B serve the same purpose as the DSP-1. It also provides fast support for the floating point and trigonometric calculations needed by 3D math algorithms. It is used as a math coprocessor in games such as Super Mario Kart and Pilotwings that require more advanced Mode 7 scaling and rotation. The DSP-1 is the most varied and widely used of the SNES DSPs, appearing in over 15 separate titles. All of them are based on the NEC µPD77C25 CPU and clocked at 8Mhz. The DSP-1 version, including the later 1A die shrink and 1B bug fix revisions, was most often used the DSP-2, DSP-3, and DSP-4 were used in only one title each. Four revisions of the chip exist, each physically identical but with different microcode. This series of fixed-point digital signal processor chips allowed for fast vector-based calculations, bitmap conversions, both 2D and 3D coordinate transformations, and other functions. The differences arise in how they are packaged, their pinout, their maximum supported ROM size, and their internal clock speed. All versions of the Super FX chip are functionally compatible in terms of their instruction set. The final known revision is the GSU-2-SP1. Later on, the design was revised to become the GSU-2, which is still 16-bit, but unlike the earlier Super FX chips, this version can support a ROM size greater than 8 MBit. Both the MARIO CHIP 1 and the GSU-1 can support a maximum ROM size of 8 Mbits. The GSU-1 however runs at the full 21 MHz. Both versions are clocked with a 21 MHz signal, but an internal clock speed divider halves it to 10.5 MHz on the MARIO CHIP 1. The following year, some boards were providing an epoxy version of it, and later a first revision came out under the label "GSU-1". This chip went through at least four revisions, first starting out as a surface mounted chip labeled "MARIO CHIP 1" (Mathematical, Argonaut, Rotation & I/O) in the earliest Star Fox cartridges, commonly called the Super FX. Super Mario World 2: Yoshi's Island uses the Super FX 2 for sprite scaling, rotation, and stretching. In addition to rendering polygons, the chip can assist the SNES with advanced 2D effects. It is typically programmed to act as a graphics accelerator chip that draws polygons to a frame buffer in the RAM sitting adjacent to it. The Super FX chip is a 16-bit supplemental RISC CPU developed by Argonaut Games that was included in certain game cartridges to perform functions that the main CPU cannot feasibly do. ![]()
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![]() ![]() ![]() But there is something of a mood, or rather a vibe, to each reading method: a logic that underlies and gives rise to the haze of feeling around it. The feeling of reading itself has no normative system or proofs - it's too steeped in time, in change and flux and conflict and perspective. It's rare that a reader feels only positively or only negatively about a text or an author or a concept.) ("A formal feeling comes.") Isn't intelligence, too, really a kind of feeling - a feel for ideas? (All these feelings tend to erupt in contradiction. 2 We know, deep down, that there is something like a feeling for certain writers and for certain aesthetics, a feeling in our literary tastes - and there is feeling in argument, in the profession, too. Feelings signify "the personal" as opposed to "the rigorous." ("Don't take it personally.") Nothing is more disavowed than feeling in the discipline. But regardless of what we think, we all seem to feel that to reveal our personal feelings - whether warm or cool or both - about what and how we read is a little self-indulgent. For post-critics who bemoan the negativity implicit in critique - harshness, coldness - to refuse to account for these feelings is disingenuous or worse, cuttingly clinical, and must be repaired. For hermeneutical paranoids invested in symptomatic critique, dwelling on these feelings is felt to be naïve. For formalists, these feelings might be banished from the analysis or sublimated into the rapturous diction used to describe textual details. We allow that subjective feelings play a part in how we read artistic and scholarly texts. Yes, reading may have mysterious attractions and revulsions - partly sensory, mostly cognitive - but they can yet be brought under the sovereignty of reasoned argument. Many scholars think of reading literature as a method that we can subject to meta-analysis. I take these to be debates about how we should approach literary forms. Though I am speaking about a practice of black femme "reading" that, among other things, often specifies to the point of fastidiousness, these matters are broadly relevant to the so-called "reading debates" in literary criticism of the past three decades. My wish to analyze shade, to draw its contours and to recount its history, springs out of a deep sympathy modified by distance. It is rare that someone fully immersed in a given practice is interested in examining it it is almost always preferable, whatever her expertise, to do it. But that is also why I want to talk about it, and why I can. I feel strongly drawn to shade and almost as strongly excluded from it - rightly so, as a bougie Zambian immigrant professor. For myself, I plead the aim of pleasure and the aid of a sharp tension in my own relation to it. If that betrayal is to be defended, it will be for the intellectual delights it offers and the affective tensions - the contemporary mood - it registers. Perhaps to analyze shade would be to betray it. Apart from appearances in a handful of queer studies texts - the fiction anthology Shade (1996), the scholarly anthology No Tea, No Shade (2016) , Tavia Nyong'o's Afro-Fabulations (2018), Timothy Oleksiak's "When Queers Listen" (2019) - it has hardly broken into academia. And it is black and femme - a fiercely private code for survival, a badge of pride within certain cultural cliques. It's not a natural topic for study it is, as one of its finest analysts and practitioners put it, an art of "the bookless." 1 It adores performance: sprezzatura and gestural reaction, oracular intensity and tonal sophistication. One of these is the practice of "reading" - adjacent to "camp" but not identical with it - that also goes by the name of "shade."Ī practice (as distinct from an idea) is one of the hardest things to analyze, but there are special reasons why shade, in particular, has rarely been examined in a scholarly way. Many things in this world haven't yet been named many things, even if they have been named, have barely been described. ![]() ![]() ![]()
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