More enhancements under the hood of the PS5 Pro console. 2TB of storage Keep your favorite games ready and waiting for you to jump in and play with 2TB of SSD storage built-in.
Wi-Fi 7 compatible PS5 Pro supports Wi-Fi 7, so you can enjoy more usable bandwidth to increase transfer speeds with your compatible router, which means you can experience reduced latency and boosted stability when playing online. PS5 Pro Game Boost and backwards compatibility The PS5 Pro console can play over 8,500 PS4® games. With the PS5 Pro version of the Game Boost feature, you can enjoy faster and smoother frame rates in some of the PS4 and PS5 console’s greatest games.
The appearance of the PlayStation 5 Pro is hardly surprising, besides, Sony showed a schematic drawing of it even before the official announcement. The console looks like the PS5 Slim, but with additional stripes on the sides. The important difference lies in the dimensions. The width of the Pro-version is similar to the reduced PS5, but the height in the vertical position is equal to the height of the standard console, released in 2020 - as much as 39 centimeters.
Compactness had to be sacrificed for the sake of improved components and cooling. Such an important feature as the ability to install the device vertically and horizontally has been preserved. The only problem is that the vertical stand will have to be purchased separately.
The cost of PlayStation 5 Pro is an extremely hot topic that has caused massive criticism from gamers. At launch, the console will sell for 800 euros (about 800 $) in the European region. By the standards of home consoles, this is a hefty sum, which could potentially scare away newcomers to the world of gaming.
At the same time, the delivery set turned out to be meager - the buyer will get only the console itself without a disk drive and a DualSense gamepad. Yes, to run disks you will have to pay for a separate disk drive, which will require network access. However, the PlayStation 5 Pro has a weighty plus - SSD-storage capacity of 2 terabytes right out of the box. That's twice as much free space as the PS5 Slim.
The DualShock 4 controller is an improved version of Sony's classic joystick, delivering the best gaming experience for PlayStation 5 Pro users.
Wireless: The controller uses Bluetooth technology to connect wirelessly to the console, allowing for maximum freedom of movement. Lighting: Built-in LED panel that changes color depending on in-game events, allowing for greater immersion in the game. Vibration: Enhanced vibration and haptic feedback for a better gaming experience.
Originality: 100% original product with certification and quality guarantee. An original product for connoisseurs of high-quality video games.
12 months manufacturer's warranty.
Service support and maintenance in authorized centers.
Powerful console, but you have to connect an additional cooling system to it, as it can get very hot. Otherwise, everything is super!
I bought a PS5 Pro as a gift for a friend, he was delighted. The games look like real movies. Now he can't tear himself away from it.
The PS5 Pro is not just a gaming console, it’s a whole entertainment center! Watching movies and playing games in 8K is something incredible. Great buy!
Very good console. Video games with 8K support look great. Everything works without delays and failures. I recommend it for real gamers.
For me, the PS5 Pro is the perfect console. The quality of the games, the graphics, the sounds - everything is top notch. I am very happy that I bought this model!.
Very happy with the purchase! The console is not only powerful, but also stylish. Excellent video and sound quality, ideal for all types of games!
I bought a PS5 Pro for online games, and now every match is something! The graphics are superb, and no delays bother me. I recommend it to everyone.
The console is great, but there is some noise when it runs at maximum speed. Overall, the quality of games on the PS5 Pro is impressive. It's really cool to play in 8K!
Very happy with the purchase. For the money, the PS5 Pro is the best choice on the market. Games look great and loading times are much faster. Definitely recommend!
I've been playing on the PS5 Pro for a few months now and it's an absolute joy! The graphics in 8K are simply stunning and the performance of the console is top-notch. I can't imagine my life without this console!
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Playstation 3 в крыму.
None Чехов в Крыму
Книга известного чеховеда кандидата филологических наук. Г. А. Шалюгина, долгое время руководившего ялтинским. Домом-музеем. А. П. Чехова, рассказывает о жизни и творчестве. А. П. Чехова в. Крыму. В доступной и живой форме изложены документальные материалы, связанные с людьми, которые окружали
In unfolding and articulating Quartet ’s heated-up Baroque story, Wilson not only presented more characterization and narrative than usual but also injected a fair amount of humor into the production. In one of the work’s eight vignettelike
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In unfolding and articulating Quartet ’s heated-up Baroque story, Wilson not only presented more characterization and narrative than usual but also injected a fair amount of humor into the production. In one of the work’s eight vignettelike scenes, the Marquise switched to a Texas accent while chewing gum and wielding a handgun; at other moments, men rubbed their crotches, a noose dropped from the flies to “hang” Valmont upside down by one leg, and the innocent “niece” waxed lascivious by writhing onstage and turning a coatsleeve into a phallic puppet. This humor, along with the visual puns and almost slapstick pranks, set off Quartet ’s generally dense, funereal atmosphere, just as in more traditional drama. That director/lighting-and-set-designer Wilson has so expanded his singular vocabulary made this production’s chamber-size scale (two hours in length, a five-person cast) seem like an epic adventure, albeit one in which the action was persuasively conceptual. Like the amusing yet deadly games of amorous intrigue sketched out in its original source, Quartet was a deceptively sly, moving meditation on mortality.
As the twentieth century drew to a close, Wilson moved upstate, where she taught at Dutchess Community College while continuing to make work and to explore forms both new and ancient. Her work is held in the collections of the Whitney Museum of American Art and the Museum of Arts and Design, New York; the Institute of Contemporary Art, Philadelphia, and the Kunstmuseum Luzerne.
In Wilson’s version, Orlando’s transformation—suspended, stylized, deliberately ambiguous—is entrusted to a single, overtly illustrative element: the minimal costumes designed by Susanne Raschig. In the black 17th-century page’s costume worn in the first scene or the modular, three-layered costume in the last, Orlando/Lady Orlando, in the end wrapped only in an essential earth-colored sheath, will take up, both in the syntax of movements and in the textual quotation, what evidently is for Wilson the central theme of Woolf’s work. Both figures recline, Orlando closed off in the attic, Lady O. against the bare earth, losing themselves in daydreams and reveries: to be other than what they are, to return to being what they were, to be that which they are not yet and perhaps never will be. “I was alone,” says Orlando. “But I am alone,” Lady Orlando seems to respond. He is “in love with death” and with “the feeling of being forever and ever and ever alone”; she says of herself, “the cold breeze of the present brushes my face with its little breath of fear.” In spite of the distance of four centuries of history and of changed sexual identity, they are united in their existential solitude, perhaps the only human experience for which the passage of time provides no consolation.
At the culmination of Einstein is a scene that in its studied choreography, accompanied by the explosion of Glass’ music, recalls the abstract geometries of Busby Berkeley, if not the luxuriant chorus line of the Ziegfeld Follies. The three sections of the extremely long opening scene of another work, Death Destruction and Detroit , 1979 (Berlin), make up an almost direct quotation of Busby Berkeley. In the second part, a troop of couples in black evening dress dance in the black space, their white profiles accentuated, while diagonal shafts of light are cast from a series of doors twinkling in the background. These are the same doors from which a quintet of identical waiters parade forth to serve a meal before the dancing couples change into a row of isolated, immobile figures. One person, a lone old man, continues among and around them, following the steps of his endless dance, drawing it out for over an hour, suspended between nostalgia for a lost waltz and the endless spinning that has become a hallmark of Wilson’s early fantasies.
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