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Latest DOOM vid is up.

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DOOM Classic Maps - Hanger.
CLASSIC MAPS!
Last classic map to be done & it be the boss fight with the Cyberdemon at the Tower of Babel (E2M8), the last level from Classic DOOM's episode, The Shores of Hell! No secrets here.
This level can be unlocked on the Lazarus Labs level.
DOOM is © to id Software.
Playing the Playstation 4 version.
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Twitter: https://twitter.com/Clyde_BlueSnake
Thanks for watching!
Music outro: "Intermission from DOOM" - Robert Prince
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Google rebrands Maps Engine to My Maps on mobile devices and desktop
While most users of Google Maps make use of the normal Google Maps product, whether on the desktop or on their mobile device, other users tap into Google’s Maps Engine product to create custom maps. Starting yesterday, Google started rolling out an update to the Maps Engine mobile app that included a change to the name of the app. It is now known as My Maps and even got a new logo. Today, the Google Maps team announced through their blog that My Maps, both the free Lite version and the paid Pro version, is also coming to the desktop.
The Google Maps team has also started to contact customers who have accounts for the Maps Engine platform to advise them of the change to My Maps. As part of this transition, which is scheduled to be completed by the end of the year, Google is moving all custom maps over to the new My Maps platform. This includes custom maps that had been created in Maps Engine as well as maps that had been created using the classic My Maps that was part of Google’s old mapping platform. Until now, users only had to import their old custom maps into Maps Engine on an as needed basis and Google would even occasionally dump users back into the old interface.
Although Google has set a deadline for the transition, they do offer the ability for users to go ahead and import all of their maps over to the new My Maps platform with the click of an “Upgrade now” link.
In conjunction with the new My Maps product, Google is introducing a Google Maps Gallery that users can search or browse through publicly shared custom maps. Users who create the maps can add images, descriptions, custom icons and place details, all of which is available to others if the creator makes the map public. Alternatively, users can specify sharing options similar to how Google Drive documents work. This includes the ability to share editing functions so maps can be work on collaboratively.
With the timeline provided and the push to transition all custom maps to the new platform, it appears Google will be in a position to finally retire the last vestiges of their old mapping platform in early 2015.
You can access the new My Maps on a desktop browser by heading over to mapsengine.google.com. For Android devices, a link to the Play store is available below to check out the new app. Note that the Lite version is free while the Pro version does require a monthly subscription fee.
Google Play Download Link
source: Google Lat Long Blog
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The Classic: Sainte-Beuve and the Nineteenth-Century Culture Wars
The Classic: Sainte-Beuve and the Nineteenth-Century Culture Wars Focusing on a moment and a source in nineteenth-century France, Christopher Prendergast takes up a big question that is still with us: What is a classic? The question is, by virtue of its insistent recurrence, itself a classic question. It returns to haunt us. It provided the title of a text for French critic Charles-Augustin Sainte-Beuve in 1850 ("Qu'est-ce qu'un classique?"), as it did in the twentieth century for T.S. Eliot and John Coetzee. Centring on Sainte-Beuve in his nineteenth-century context, Prendergast's inquiry takes us historically to many places (antiquity, the middle ages, the seventeenth and eighteenth as well as the nineteenth and early twentieth centuries). He also provides an intellectual history that travels across multiple disciplinary territories (in addition to literary criticism and literary history, classical studies, comparative philology, historiography and political thought). Against this background, The Classic maps the evolution of Sainte-Beuve's thought from an initially cosmopolitan conception of the classic (close in spirit to Goethe's notion of Weltliteratur) to an increasingly nationalist conception, with a strong emphasis on the heritage of Latinity and France as its principal legatee. This emphasis was taken up by the extreme right in France after Sainte-Beuve's death, in a determined mobilizing of a version of the "classic" on behalf of a proto-fascist agenda. The final chapter deals with this appropriation and ends with a question of our own about Sainte-Beuve's original question: in the light of this bleak history, perhaps the time has come to dispense with the term "classic" altogether.