Page 11234..1020..»

Category : Transhumanism

The Chronicles of Covid, or why we must kill the Great Reset Witch – The Conservative Woman

A snowy scene, Narnia

We must go as quietly as we can, said Mr Tumnus. The whole wood is full ofherspies. Even some of the trees are on her side.

Another snowy scene, a popular hillside in Somerset, January 2021

Its a Sunday and families living under lockdown are having fun near a remote car park, parents building snowmen with their children. Then a police car arrives and parks for a while. Similar scenes happen elsewhere in Britain. Why?

Since the end of the first lockdown in March 2020, this Somerset hillside has never been busier. It has become the go-to place to find some sort of normality.

The local hunt, for example, held a memorial gathering in one of the hills car parks before Christmas for a young lad killed in a car accident. They knew that such a gathering would not be allowed elsewhere.

Why are we all being forced to live like this? Why is the constabulary now becoming such a powerful presence throughout the land? (We couldnt summon any police when we needed them to stop an illegal rave on the same hillside years ago.)

Is it because there is a realisation that the public is losing respect for authority and more coercion will be needed to implement the global Build Back Better agenda?

Maybe the penny has begun to drop that there is insufficient support for fascism, even if it is re-labelled stakeholder capitalism?

Certainly in continental Europe there is growing resistance to Planet Lockdown, often of a violent nature. In Europe they have a better understanding of the nature of fascism, unlike in Britain where we lack historical experience of mass arrests, deportations and arbitrary shootings.

The parallels with the 1930s are, however, becoming obvious to the extent that the Russian president, Vladimir Putin, used his contribution to the World Economic Forums annual Davos meeting last month to warn the world. In his view, the situation could develop in an unpredictable and uncontrolled manner and risks a fight of all against all.

Meanwhile, the WEF is trying to distance itself from any accusations that its Great Reset is a conspiracy that is masking some nefarious plan for world domination (?!)

But then its plans are hardly nefarious, given that the WEF is so blatant about its role in bringing together global leaders and mega-corporations to rebuild the world along sustainable lines.

Sadly for the WEF, its own benign belief in its motives is not shared universally. Of the 200,000-plus views of its latest YouTube video, it could muster only 1,500 likes compared with 19,000 dislikes and openly hostile messages in the comments below. Not exactly a good indicator of widespread support. The UK government would do well to take note.

While there might not be agreement about return to pre-Covid ways of living were it possible or whether change is necessary, neither is there any consensus on what form that change should take.

In particular, there is increasing cynicism about an elite group of globalists lecturing us on how to collectively improve life on the planet without destroying it. It does not sit well with the public that the same billionaires who form the WEF are those who have profiteered from their misery during the pandemic.

Mega-corporations and their supporters politicians, financiers, non-governmental organisations, etc also have zero credibility as eco-warriors.

They are more closely associated in the public mind with creating problems rather than solving them. Pollution and destructive business as usual have continued unabated under a cover story of environmentalism.

The examples of cobalt and lithium alone reveal the empty virtue-signalling in the pious rush for the windmills and solar panels that are the basis for the WEFs Build Back Better campaign.

Cobalt and lithium are widely used in electronics for energy storage, whether a solar panel or a mobile phone. Yet the way cobalt is mined (using child labour) is never discussed, nor is the damage to Chiles Atacama desert, where lithium extraction displaces the flamingos. The billionaires have failed so far to provide viable alternatives.

There is also nothing remotely sustainable about increasing our reliance on electricity. It would take only a coronal mass ejection a gigantic release of plasma and magnetic field from the sun to wipe out the National Grid, as Sir Oliver Letwin so eloquently pointed out in his March 2020 bookApocalypse How?It makes no sense that a British government continues to take us on the doomed path that WEF promotes.

History will not judge kindly a government that abandons its people in favour of the diktats of a foreign entity. Our government needs to learn the lesson of Brexit. The British people want their independence. It is the reason we as a nation have been willing to fight wars.

Now is the time for the Government to abandon Build Back Better, and focus instead on building back without the WEFs fake sustainability and its Fourth Industrial Revolution, which is synonymous only with yet more unemployment and misery.

A useful first step would be for the Government to restore hope, at the very least, to the lost generation. The traumatising of the young, and their consequent despair, is one of the most distressing aspects of the mishandling of the pandemic.

The lack of support for the most disadvantaged white working-class boys is nothing short of a scandal. The Government is sending a clear message that these children have no future in the technocratic world.

This attitude toward the disadvantaged speaks to C S Lewiss grim prophecies of the 1940s. In his novelThat Hideous Strength,he blames advances in technology for the reductions in industrial and agricultural workforces, with no mention of retraining.

Instead, a large, unintelligent population is now a deadweight. In his view the masses are therefore to disappear the human race is to become all technology.

In 1945, George Orwell wrote a review in theManchester Guardianof Lewiss novel. The title of the review was The Scientists Take Over.

He believed that Lewiss dystopian vision was realisable and that there could be a time when the common people are to be used as slaves and vivisection subjects by the ruling caste of scientists Man, in short, is to storm the heavens and overthrow the gods, or even become a god himself.In effect, he was predicting transhumanism, artificial intelligence and genetic engineering.

At some point it will become obvious in the UK if the oppression we currently face is about keeping us safe from a virus, or about preparing us for life under the WEF reset.

The pandemic itself is likely to fade. Covid has now replaced seasonal flu in the official statistics, thus suggesting that it is no more deadly than a flu. Cases are on the decline. With Covid gone, what will be the excuse to bully us?

The narrative has already begun to change in the US. No sooner was it clear that Donald Trump would leave the White House, than theNew York Timesran an article suggesting that coronavirus will come to resemble the common cold and be no more than a minor annoyance,and the most draconian governors in California, New York and elsewhere began to lift restrictions.

It would seem that the pandemic had done its job: it left Trumps economy in ruins, and provided the perfect pretext for mail-in ballots and for keeping poll watchers at bay during the election count.

So, when can we expect a similar shift in the UK? Liberation cannot come quickly enough. We are fast turning into a nation of zombies. Nothing is working properly. People cant think straight. They demand vaccines in the hope of a return to normality, but fail to hear the Government telling them that nothing will change. The sunny uplands continue to recede.

We are now facing an unholy mess with a shrunken economy, no shiny new Fourth Industrial Revolution to fill the gap, and the potential for hordes of disaffected and disturbed masses to threaten us all.

Is this what is anticipated for us? We can only hope that there is no significance in the evidence coming from one part of Somerset, where an abandoned quarry is used for training police marksmen.

Locals tell me that the police have recently increased their use of the quarry and the barrage of shots can be heard more frequently over a wide distance. What hope is there?

Maybe, once it has sorted itself out, the US will once again help rescue us from fascism, as it did in the 1940s. My great-grandfather certainly believed in June 1940 that the US would rise to the occasion when he wrote to my grandmother from his hotel in Liverpool before setting sail for the States.

We were pleased to see the Americans when they did finally arrive. But more than 80 years later, perhaps such thoughts of rescue are more fiction than fact. Like Mr Tumnus, we may have to wait instead for The Last Battle for freedom to return, and who knows when that will be?

Read the original post:
The Chronicles of Covid, or why we must kill the Great Reset Witch - The Conservative Woman

Recommendation and review posted by Alexandra Lee Anderson

Game On: Cyberpunk 2077 is everything I like in a role-playing video game – The Spokesman-Review

After three delays dating back to April, the long-awaited Cyberpunk 2077 was unleashed upon the gaming world on Dec. 10. Its the latest effort by CD Projekt Red, the Polish development team best-known for The Witcher series that catapulted a little-known book series into stardom. This time, the team exercised its open-world, role-playing game muscles to produce an adaptation of the Cyberpunk tabletop RPG dating back to 1988.

When most people think of RPGs, their mind pictures high fantasy settings wizards, dragons and medieval times. Or perhaps they think of science-fiction space operas with alien species and bombastic spaceship battles. Cyberpunk is closer to sci-fi, but instead of space travel you get an Earth-grounded, near-future dystopian setting fueled by transhumanism, debauchery and twisted political systems.

I found myself easily engrossed in the gritty and immersive setting. Some reviewers have accused Cyberpunk 2077 of being gratuitous or edgy for the sake of being edgy, but Id argue compared to the other narrative-driven hit of 2020 The Last of Us Part II this one pales in comparison. Its a dirty city full of dirty deeds, but the game rarely dwells on its bleakness. Beneath its rough exterior are heartfelt stories and characters who, despite their cybernetic body modifications, are still very much a reflection of the human experience.

Working as an opportunistic gunslinging outlaw, the player character, who goes by V, soon finds itself inadvertently entangled in political upheaval. Ive always appreciated the right place at the right time approach to storytelling more than the chosen one clich. Nothing makes V particularly special, and you can even choose from three backgrounds nomad, street kid or corporate. Each backstory changes how V is initially brought into the story and adds a variety of dialogue options specific to your character.

The dialogue is engaging, even mesmerizing. The games themes and narrative are communicated entirely through conversations instead of the boring and all-too-common video game trope of third-person narration. V can chime in frequently, and Cyberpunk 2077 even denotes which dialogue choices will drive the plot forward and which will not. This benefits gamers who want to rush through, as well as people who enjoy role-playing their characters, and its a brilliant mechanic that other dialogue-driven games would do well to emulate.

Open-world games arent my cup of tea. They are often too vast for their own good, relying on bland, repetitive environments and pointless side missions to pad out the run time. Cyberpunk 2077 takes place entirely within the confines of Night City, which is densely populated and appropriately packed full of activities. Its the exact opposite approach of Fallout: New Vegas and The Elder Scrolls series, where players can wander around desolate landscapes for many minutes before encountering anything noteworthy.

That said, Cyberpunk 2077 is not above every time-sucking RPG staple. While many of the side quests assist the narrative and add depth to its eclectic cast, there are occasional fetch quests and other uninspiring activities. If you spend any time scavenging the environment or looting fallen enemies, youll have to waste a lot of time in menus managing your inventory. The issue is mitigated somewhat by a handy sell junk button for selling found commodities, but its hardly a perfect solution.

Cyberpunk 2077 sold 8 million copies via pre-orders alone, which doesnt include sales made on release day. Fifty-nine percent of those purchases were for the PC version, making it the fastest-selling PC game of all time. It attracted more than 1 million active players on Steam hours after its release, the highest concurrent player count for any single-player game.

Despite the sales, CD Projekt Red also has created a scandal. While Cyberpunk 2077 runs like a dream on a good PC or even via Google Stadia with a good internet connection, the Xbox One and PlayStation 4 ports leave a lot to be desired. Framerates regularly dip below 30 frames per second, characters randomly pop in and out of existence, objects fail to render, and some players save files have become corrupted, forcing them to restart the game from the beginning.

In response, the developer has promised refunds for dissatisfied players. But video game refunds typically land on the hardware manufacturer in this case, Sony or Microsoft and not the developer. A publicized CD Projekt Red conference call has cast doubt on whether its even possible for the company to give out direct refunds, and its stock recently plummeted by 29%.

The game is so cutting-edge that CD Projekt Red shouldnt have even bothered with the Xbox One and PlayStation 4, which came out in 2013 it shouldve instead prioritized getting Cyberpunk 2077 running on Xbox Series X/S and PlayStation 5. The game will be ported to those consoles in due time, and the upgrade will be free, but many gamers are adamant the damage is already done.

Regardless, Cyberpunk 2077 is my favorite open-world game by far, and I highly recommend it for fans of RPGs, shooters and science fiction. If youre unable to play it on a PC, Id hold off until the dust settles. CD Projekt Red has promised to rigorously update the Xbox One and PlayStation 4 ports to improve performance, but only time will tell if those fixes are sufficient.

Riordan Zentler can be reached at riordanzentler@gmail.com

Follow this link:
Game On: Cyberpunk 2077 is everything I like in a role-playing video game - The Spokesman-Review

Recommendation and review posted by Alexandra Lee Anderson

Cloudpunk is an exceptional cyberpunk game that keeps getting better – PC Gamer

GOTY 2020

(Image credit: Future)

In addition to our team-selected Game of the Year Awards 2020, individual members of the PC Gamer team each select one of their own favourite games of the year. We'll post new personal picks, alongside the main awards, throughout the rest of the month.

Cloudpunk's transformation has been a pleasure to watch. The version that launched in April was greata cyberpunk courier romp that saw you exploring the dystopian city of Nivalis in your flying car and on foot. Massive voxel spires tearing through the clouds below you; walkways filled with street vendors, dealers and corporate security; everywhere you look something eye-catching and unusual. It's a game you can wrap up in 10 hours, but one that beckons you to explore it for days. Weeks.

If developer Ion Lands had left it that, I'd still probably be writing about Cloudpunk here. I'd still be gushing about Rainia, a rare cyberpunk protagonist who isn't dying from cynicism, who's cool because she absolutely isn't trying to be. And of course I wouldn't forget about Camus, her constant companion. He was an AI dog in a former life, and now he's a car. He's the best boy. The pair meet a lot of fascinating people during their first night on the job, and through them Cloudpunk explores transhumanism, terrorism, AI rights and all sorts of topics, both speculative and relevant now.

Cloudpunk is dense with worldbuilding, but it's not bogged down in it. Nivalis itself is huge and ancient, the sort of thing you can't really know, but you'll come to understand it pretty well, and the greater world around it, just by driving around. In a few hours, you'll have the kind of strong sense of place that a lot of games fail to produce after 50 hours. And like us, Rainia is a newcomer to the city, encountering its oddities for the first time. She doesn't just accept that "this is how it is". She's frequently stunned by it, but also very critical. It's an incredible place that also happens to be deeply fucked up and broken.

So yeah, it was fantastic. Then the first-person mode appeared, initially for the on-foot sections. Previously, these were presented side-on with a fixed camera, and while the ability to explore the city outside of the car was very welcome, I always found myself aching to return to my boxy, banged-up vehicle. The first-person mode changed that straight away. Walking around became a delight. Wizardry must have been involved. The game wasn't designed with a first-person perspective in mind, but it works so damn well. Now I can't imagine playing it any other way. And it only took Ion Lands a month to implement. As I said: wizardry.

Viewing the city up close really lets you admire the impressive voxel art and so many little details that were hard to pick out when it kept you at a distance. It's so much larger and intimidating and lively, but simultaneously intimate. An unlocked third-person camera was also added, and most recently a first-person driving mode, letting you experience the whole game from Rainia's eyes. It's the best way to see the city, but I'm just as enamoured with the inside of my car, which includes a diegetic display that puts your fuel meter, bank balance, minimap and other helpful details on the dashboard.

Cloudpunk could have just let me fly my car around a weird city in the distant future and I would have absolutely been content, but it reeled me in with its intriguing, understated story and then catapulted itself to the top of my favourite games list thanks to the extra attention it's received from Ion Lands. Jumping back in to grab some screenshots, I was reminded just how seductive Nivalis is, and while the story is behind me, I don't think I'm quite done being a tourist.

Go here to read the rest:
Cloudpunk is an exceptional cyberpunk game that keeps getting better - PC Gamer

Recommendation and review posted by Alexandra Lee Anderson

Cyberpunk 2077 Guide Tips and Tricks to Survive Night City – Wccftech

Cyberpunk 2077 makes it pretty clear that Night City is a dangerous place. In early sequences of the game, youll be threatened and shot at by just about everyone. But you can be the apex predator of the city if you want to be. There is a load of different ways you can go about it, and like the tabletop RPG CP77 is based on, it can get a little complicated.

This guide will give you some hints and tips on how to stay alive and rise through the ranks to become a legend, rather than die alone.

Cyberpunk 2077 Guide Leveling Up, Experience, and Attributes Explained

You arent going to be able to talk or sneak your way out of every potential fight in Cyberpunk 2077. Whether you get caught up in street violence or spotted by some server room guards, sometimes you are going to have to fight.

So, make sure youre ready. Keep track of your weapons and make sure youve put some skill points into improving their damage and accuracy. If you want to swing a sword around, make sure youve got enough strength to inflict damage. Youll be picking up more weapons and mods than you realise as you explore Night City, so spend a few minutes before big missions getting familiar with your arsenal and equipping the right tools for the job.

Enemies are also more bullet spongy than you might expect to start with too, so even if you are playing stealthy, dont think a silenced sniper rifle is going to get you past enemies undetected, it's probably just going to alert them.

If you want to play stealth, you have to do more than point your points into Cool. Once youve got a bit of scrip to spend, get to a ripper doc, and get the Nervous System upgrade. It can be expensive if youve found a nice rare one, but it's totally worth it.

With this piece of transhumanism in your noggin, time slows down as you're about to be seen. A staple of the stealth genre, this allows you to either get out the way or get the first several shots in, which is completely lifesaving in Night City.

Cyberpunk 2077 1.05 Hotfix Now Live On PlayStation 4, Xbox One [UPDATE Out on PC, Too]

Obviously, you should also get points in Cool too, as a lot of skills there can help you stay stealthy, but this piece of tech is the thing that changes stealth from a temporary balm to a viable playstyle.

And just to reiterate from the last point, if you are being stealthy, dont use your guns to dispatch enemies. Grab and kill them that way. It's quicker and much more effective. Be careful grabbing enemies that out-level you though. Youll see who they are by the red skull besides their health bar. If you grab these enemies they will immediately escape the grapple and probably kill you.

While it can obviously be incredibly helpful, and perhaps even more fun, to specialise in one or two skills in Cyberpunk 2077, it's very useful early on to have a few options. Spreading the skills you have at least five in Technical Ability, Cool, Body, and Intelligence will unlock several new routes for you to explore either through conversation, unlocking doors, or accessing panels. As you get further into the game five points wont be enough to do much, but that shouldnt matter as you start to discover what you enjoy the most and begin to specialise in that.

Cool is most often used in conversations, which allows you to get more information from a client or target, which sometimes comes in the form of information about secret entrances or paths through otherwise inaccessible areas. Intelligence and Technical Ability are more hands-on, allowing you to access computers and hardware to open doors, turn security systems off, or otherwise approach a situation smarter. Body, on the other hand, lets you rip locked doors from their hinges and intimidate fleshy meat bags into not attacking you.

When leveling up in Cyberpunk 2077, youll be allowed to put points into skills that are broken down by the attributes. Even if you dont want to put any points into Body, make sure you check out the skills from the body tab. These are often general-purpose and well worth investing in whether youre a netrunner or corpo goon.

Stuff like improving your stamina, health, and carry capacity is obviously really useful, especially when youre carrying around enough weapons to nuke Arasaka Towers. These are also great skills to buy early on if youre a little overwhelmed by all the options on offer and dont know how youll play the game long-term.

Youll have a lovely introduction to ripper docs in the game's prologue, and this section will explain how they work, and what kind of upgrades they can offer to your body. But you dont see many options until you go back later, on your own time, with more credits to spend. When you do go back, youll be so overwhelmed with options, it can be hard to see what they all are.

And while improving the brain and arms is fantastic, dont forget to look at leg upgrades as well. Some of them can improve your jumping ability that really opens up the verticality of Night City, giving you new routes and places to explore that otherwise would pass you by. Its actually surprising how much of the game is hidden above where you can normally reach, and the game doesnt really ever tell you to find it.

Here is the original post:
Cyberpunk 2077 Guide Tips and Tricks to Survive Night City - Wccftech

Recommendation and review posted by Alexandra Lee Anderson

The Small Dong In Cyberpunk Is Way Too Big | TheGamer – TheGamer

Is it just me, or is the small package in Cyberpunk 2077 way too big?

Is it just me, oris the small penisin Cyberpunk 2077way too big?

That was a rhetorical question - of courseit's too big. That's is why everyone's talking about it. If you fancy a V with a massive hammer, you're in luck but if you were planning on rolling a V with a tiny bird, you're probably going to be disappointed.

RELATED:Digital Goodies, In-Game Rewards, And The Best Place To Buy Cyberpunk 2077 (Sponsored)

Cyberpunk wiener customization is limited to two styles cut or uncut and three sizes. The size options are small, default, and large, but I think they'd be better labelled as "decent hog," "nice package," and "magnum dong." The problem with these sizes, astutely noted by the r/smalldickproblems subreddit, is that even "small" is over five inches long.

Yes, the Cyberpunk penis options are making people very self-conscious about their willies. It seems like the small one should really be the default. According to Healthline (and conventional wisdom), the average penis size is 5.16 inches. So why does Cyberpunk 2077 call a five-inch dick small?

Cyberpunk is not a game that concerns itself with realism. Bodymodification is core to the transhumanism philosophy and to the themes and gameplay of Cyberpunk itself. An argument can be made that all of these dangles come pre-enhanced. After all, if you can replace your hands with gorillafists, it's probably not much of a stretch to imagine that everyoneeventually makes a stop to the Ripperdoc just to add a little more girth to their git. The problem with this theory is that it assumes everyone would want a bigger unit, and that just doesn't ring true.

RELATED:Naked T-Posing While Driving Is The New Best Bug In Cyberpunk 2077

If you ask me, the small option should be a certified micro-penis - maybe even bordering on inverted. Small members-onlycommunities liker/smalldickproblems make it pretty clear that a lot of people with modest pee-pees walks around with a huge chip on their shoulder. That kind of perpetual angstis prime real estate for strong RP. It wouldn't necessarily be a shameful thing though. I imagine there are probably folks with tiny d's that wear it proudly la Short Kings. The point is a small hammercould be an important part of your V's identity, but unfortunately the only size choices we have are big, bigger, and biggest.

View original post here:
The Small Dong In Cyberpunk Is Way Too Big | TheGamer - TheGamer

Recommendation and review posted by Alexandra Lee Anderson

Conspiracy Theorists Believe Jeffrey Epstein, Who Died in 2019, Is Alive at His New Mexico Ranch. He Is Not. – Inside Edition

Convicted sex offender and multimillionaire financier Jeffrey Epstein died by suicide in his Manhattan jail cell more than a year ago, but according to conspiracy theorists he is alive and well and at his ranch in New Mexico, the New York Post reported.

The YouTube channel ABQ Raw told viewers that Epstein could be seen in a red truck, near the fence line of the property of his ranch. The driver of the truck is said to have had a striking resemblance to the recently deceased Jeffrey Epstein. The poster says Epstein must have rode off into the sunset after faking his death, the New York Post reported.

Epstein, 66, did not fake his own death, but instead took his own life after beingcharged in July 2019 with the sexual trafficking of girls as young as 14.

Epstein conned people about his wealth, his financial stature and personal accomplishments, and deceived people in his pursuit to form valuable relationships with political and global leaders, scientists and other titans ofindustry, officials said. Epstein also hada fascination with transhumanism, the science of improving the human population through genetic engineering and artificial intelligence, The New York Times reported. Before hisdeath, Epstein hoped to seed the human race with his DNA by impregnating womenat his New Mexico ranch, the Times reported.

On Aug. 10, 2019, Epstein was found unresponsive in his cell in the Special Housing Unit of Manhattan Correctional Center in Lower Manhattan around 6:30 a.m. Jail staff tried to revive him, and then called for an ambulance.

He was taken to New York Downtown Hospital around 7:30 a.m. anddeclared dead a short time later. The city Medical Examiners office took Epsteins body from the hospital to the city morgue at Bellevue Medical Center Saturday afternoon to determine the cause of death, the Post reported.

RELATED STORIES

Jeffrey Epstein's First-Known Accuser Says He Posed as Victoria's Secret Recruiter

Ghislaine Maxwell, Jeffrey Epstein Confidante and British Socialite, Arrested on Sex Charges

New York Coroner Rejects Claim That Jeffrey Epstein's Death Was 'Homicide'

If you are using ad-blocking software, please disable it and reload the page.

View post:
Conspiracy Theorists Believe Jeffrey Epstein, Who Died in 2019, Is Alive at His New Mexico Ranch. He Is Not. - Inside Edition

Recommendation and review posted by Alexandra Lee Anderson

UTC Professor Blends Together Philosophical Concepts And Filmmaking – The Chattanoogan

When Zuriel Hampton-Coffin learned he would have to make a horror film for his Popular Culture and Religion and Philosophy course, he wasnt horrified.

I was very excited and became more interested in the class, said the freshman in entrepreneurship. Knowing that it was a horror film didnt really make a difference, I was just excited to make a movie.

I really enjoyed the filmmaking process. It was much harder than I thought it would be, but it was very enjoyable.

Getting students to think outside the boxor in this case, inside the movie theateris one reason Ethan Mills, associate professor of philosophy and religion, assigns a three- to five-minute horror film as one of the assignments each semester in the course. Students reactions vary.

Usually, they are a little surprised, and theres a whole history of that because the name of the classes are pretty generic title: Popular Culture and Religion and Philosophy, he said. Some people go, Cool. Im really excited. This is going to be awesome. And sometimes I get the reaction, Well, Im not really a horror fan. I dont really want to make movies, but, you know, maybe itll be interesting.

What I hope they get out of it is theyll be able to appreciate popular culture at a deeper level, more thoughtfully, he said. You can think philosophically about anything.

Dr. Mills has used filmmaking technique in the class three times, including this semester. The latest batch will debut on Nov. 18. One will be selected as the best and win prizes.

The films must illustrate one of the philosophical tenets that have been discussed in class, including existentialism, denial of death, authenticity, absurdity, transhumanism and others. Students must explain, in writing, the concept they are highlighting in their script.

When youre making a film, you cant just say, So-and-so is feeling sad. You have to think about: How do you show that that character is sad? How do you show some of these abstract philosophical ideas? How would you take these ideas and put them in a visual medium?

Mr. Hoffman-Coffin said representing the philosophical concepts was easier than he thought.

You would think that writing scripts addressing philosophical concepts would be hard, but it really wasnt. Professor Mills provided us with many different concepts, which made it extremely easy to create a film addressing those, he said.

Breaking off into groups, students write the screenplay and design the filmmaking process from figuring out the camera shots, the lighting, the pacing and choosing the actors. Working with Wes Smith, who is in charge of the recording and filmmaking studio in the UTC Library, they use professional-grade cameras for filming and computer software and equipment to edit, create the music and add special effects their films. Some students use their smartphones to film.

Actually, especially some of the newer phones, have pretty decent video capabilities, so theyre actually not bad, Dr. Mills said.

Along with discussing the philosophical writings of Jennifer McMahon, Albert Camus, and W.E.B. DuBois, his students have read books and short stories and watched films of horror, then connected the two. Theyve discussed books such as the original Frankenstein, in which the monster is very intelligent but reviled. In doing so, the novel examines xenophobia and the nature of what it means to be human.

Theyve watched Get Out!, the 2017 horror film nominated for a Best Picture Oscar which tackles racism and transhumanism, the idea of using science to improve humans. Theyve read novels by Stephen King and the short stories of H.P. Lovecraft, whose writings conclude that the universe doesnt make any sense and we are simply specks on an infinite canvas.

Thinking about something like Frankenstein, which is still part of the popular culture 200 years after the novel was published, I find it kind of interesting to go back to the original source and see where it all came from, Dr. Mills said.

With the COVID-19 pandemic in full swing, though, certain changes had to be made

I have to remind them that when theyre filming to be careful interacting with other people. So Ive really been stressing the safety, especially on the filming aspect, Dr. Mills said.

Group discussions can be done over Zoom, he noted, and social distancing and masks are used by students when actual filming takes place, except for the actors who have to speak the lines, of course.

One of his suggestions for safety-first is to create a found-footage filmthink The Blair Witch Project or the Paranormal Activity movies. Those can be made using Zoom, reducing the amount of time students spend in face-to-face groups.

Whatever the style, students hopefully will discover new ways to enjoy what they read and see, Dr. Mills said.

When were watching films or reading the short stories and novels that we cover, what Im trying to train them to do is to find the philosophical content, getting those works. But when theyre making the films, its kind of from the other side. Theyre putting that content into their own work, so they see it from both sides. I think thats a really unique learning experience.

More here:
UTC Professor Blends Together Philosophical Concepts And Filmmaking - The Chattanoogan

Recommendation and review posted by Alexandra Lee Anderson

Artificial Intelligence in Big Data Analytics and IoT Report 2020-2025: Focus on Data Capture, Information and Decision Support Services Markets -…

DUBLIN--(BUSINESS WIRE)--Nov 3, 2020--

The "Artificial Intelligence in Big Data Analytics and IoT: Market for Data Capture, Information and Decision Support Services 2020 - 2025" report has been added to ResearchAndMarkets.com's offering.

This report evaluates various AI technologies and their use relative to analytics solutions within the rapidly growing enterprise and industrial data arena.

The report assesses emerging business models, leading companies, and solutions. The report also analyzes how different forms of AI may be best used for problem-solving. The report also evaluates the market for AI in IoT networks and systems. The report provides forecasting for unit growth and revenue for both analytics and IoT from 2020 - 2025.

The Internet of Things (IoT) in consumer, enterprise, industrial, and government market segments has very unique needs in terms of infrastructure, devices, systems, and processes. One thing they all have in common is that they each produce massive amounts of data, most of which is of the unstructured variety, requiring big data technologies for management.

Artificial Intelligence (AI) algorithms enhance the ability for big data analytics and IoT platforms to provide value to each of these market segments. The author sees three different types of IoT Data: (1) Raw (untouched and unstructured) Data, (2) Meta (data about data), and (3) Transformed (valued-added data). Artificial Intelligence (AI) will be useful in support of managing each of these data types in terms of identifying, categorizing, and decision making.

AI coupled with advanced big data analytics provides the ability to make raw data meaningful and useful as information for decision-making purposes. The use of AI for decision making in IoT and data analytics will be crucial for efficient and effective decision making, especially in the area of streaming data and real-time analytics associated with edge computing networks. Real-time data will be a key value proposition for all use cases, segments, and solutions. The ability to capture streaming data, determine valuable attributes, and make decisions in real-time will add an entirely new dimension to service logic. In many cases, the data itself, and actionable information will be the service.

Select Report Findings:

Report Benefits:

Key Topics Covered:

1.0 Executive Summary

2.0 Introduction

2.1 Research Objectives

2.2 Key Findings

2.3 Target Audience

2.4 Companies in the Report

3.0 Overview

3.1 Artificial Intelligence and Machine Learning

3.2 AI Types

3.3 AI & ML Language

3.4 Artificial Intelligence Technology

3.5 AI and ML Technology Goal

3.6 AI Approaches

3.7 AI Tools

3.8 AI Outcome

3.9 Neural Network and Artificial Intelligence

3.10 Deep Learning and Artificial Intelligence

3.11 Predictive Analytics and Artificial Intelligence

3.12 Internet of Things and Big Data Analytics

3.13 IoT and Artificial Intelligence

3.14 Consumer IoT, Big Data Analytics, and Artificial Intelligence

3.15 Industrial IoT, Big Data Analytics, and Machine Learning

3.16 Artificial intelligence and cognitive computing

3.17 Transhumanism or H+ and Artificial Intelligence

3.18 Rise of Analysis of Things (AoT)

3.19 Supervised vs. Unsupervised Learning

3.20 AI as New form of UI

4.0 AI Technology in Big Data and IoT

4.1 Machine Learning Everywhere

4.2 Machine Learning APIs and Big Data Development

4.3 Enterprise Benefits of Machine Learning

4.4 Machine Learning in IoT Data

4.5 Ultra Scale Analytics and Artificial Intelligence

4.6 Rise of Algorithmic Business

4.7 Cloud Hosted Machine Intelligence

4.8 Contradiction of Machine Learning

4.9 Value Chain Analysis

5.0 AI Technology Application and Use Case

5.1 Intelligence Performance Monitoring

5.2 Infrastructure Monitoring

5.3 Generating Accurate Models

5.4 Recommendation Engine

5.5 Blockchain and Crypto Technologies

5.6 Enterprise Application

5.7 Contextual Awareness

5.8 Customer Feedback

5.9 Self-Driving Car

5.10 Fraud Detection System

5.11 Personalized Medicine and Healthcare Service

5.12 Predictive Data Modelling

5.13 Smart Machines

5.14 Cybersecurity Solutions

5.15 Autonomous Agents

5.16 Intelligent Assistant

5.17 Intelligent Decision Support System

5.18 Risk Management

5.19 Data Mining and Management

5.20 Intelligent Robotics

5.21 Financial Technology

5.22 Machine Intelligence

6.0 AI Technology Impact on Vertical Market

6.1 Enterprise Productivity Gain

6.2 Digital Twinning and Physical Asset Security

6.3 IT Process Efficiency Increase

6.4 AI to Replace Human Form Work

6.5 Enterprise AI Adoption Trend

6.6 Inclusion of AI as IT Requirement

7.0 AI Predictive Analytics in Vertical Industry

7.1 E-Commerce Services

7.2 Banking and Finance Services

7.3 Manufacturing Services

7.4 Real Estate Services

7.5 Government and Public Services

8.0 Company Analysis

8.1 Google Inc.

8.2 Twitter Inc.

8.3 Microsoft Corporation

8.4 IBM Corporation

8.5 Apple Inc.

8.6 Facebook Inc.

8.7 Amazon.com Inc.

8.8 Skype

8.9 Salesforce.com

8.10 Intel Corporation

8.11 Yahoo Inc.

8.12 AOL Inc.

8.13 NVIDIA Corporation

8.14 x.ai

8.15 Tesla Inc.

8.16 Baidu Inc.

View original post here:
Artificial Intelligence in Big Data Analytics and IoT Report 2020-2025: Focus on Data Capture, Information and Decision Support Services Markets -...

Recommendation and review posted by Alexandra Lee Anderson

The ’70s Horror Collection on Criterion Channel Proves They Don’t Make ‘Em Like They Used To – Decider

I have an old friend, one of my oldest, with whom I grew up watching movies. Specifically, horror movies. It was our thing. From 1935s The Bride of Frankenstein (on 60s television), to new, groundbreaking and controversial movies like Night of the Living Dead at our local single-plex around 1970 (when we were both only eleven years old, and hardly intellectually or spiritually prepared to see those living dead chowing down on offal), we consumed as much as we could. We also regularly purchased the magazine Famous Monsters of Filmland. We were easily the most popular kids in our Dumont, New Jersey grade school as a result.

And we were both highly dispirited, as adults, in the ostensible horror revival that we saw (or maybe we should say witnessed) in the early aughts, particularly, yes, in the Saw franchise. My pal worked at a video store up to the very end of video stores being a thing and as the resident horror fan at his Tower Records outlet he was beset by younger customers enthusing about Saw and other pictures, and hed roll his eyes.

I liked horror movies, hed say. But I dont like these. While our own patch of cinematic heaven had room for both the old-school classics and the inheritors of Romero (which was certainly not the case for folks older than us, who would bemoan the terrible violence of the newer pictures), stuff like Saw was where we drew the line. Just as rock genre mavens would decry false metal, we thought this new stuff was Faux Grindhouse.

The grindhouse. That is, or rather was, a something-less-than-first-run movie theater that housed garish fare like Night of the Living Dead and the spate of films that followed. Not just an environmental location but a state of mind. An aesthetic, if you will. One cherished, as we know. by the likes of Rodriguez, Tarantino, Roth and others, but only rarely recaptured.

If you have access to the Criterion Channel you can now, through its 70s Horror collection, get a nice, hefty, often disquieting dose of genuine grindhouse horror.

Which despite the conventional wisdom that also calls it exploitation cinema, wasnt always made by Moloch-worshipping film creators pandering to the lowest common denominator. Directors such as David Cronenberg, Bill Gunn, Wes Craven, Larry Cohen and others, all represented in the Criterion Channels nicely curated 70s horror festival, took their low-budget prerogative to inquire into transgressive themes and make pointed, if at times camouflaged, statement about not just contemporary society but the human condition.

These filmmakers were not even the most grindy of the 70s grindhouse auteurs. Theres a whole guild of Italian directors, most prominently Lucio Fulci, who took sadistic cinema to new ultra-grisly extremes. Because the 70s were also noteworthy for lots of horror movies in which the word Cannibal was prominently featured in the title. (Dario Argento, another maestro of Italian horror, who made the first, untouchable Suspiria and other loopy greats, sits a little to the right of most of those characters.) These items are not part of the Criterion package. Which is not to say the pictures here lack for luridness, or griminess. As smart as, say, Cronenbergs films Rabid and Shivers are, they are fast-paced and packed with visceral thrills. They are very much down and dirty pictures.

Its in disreputability and obscurity that 70s horror films found their strongest footing, arguably. Tobe Hoopers 1974 The Texas Chain Saw Massacre was made cheaply, shot on 16mm film, as opposed to the larger gauge 35 that was used for Hollywood product, but it was also immaculately crafted. It brims with incredible shot compositions and camera movements, and is so confident as to ratchet up hysterical scares without getting anywhere nearly as gory as the movies title would suggest. (Which isnt to say theres not plenty of blood, eventually.)

But another component that gave Massacre a lot of its power was its come-out-of-nowhere obscurity. The cast was made up of unknown actors. Getting caught up in their story (despite the fact that these post-hippie kids looking for a pond were all kinds of not-very-likable), you became invested in their fate. And you had no prior attachments to, or associations with them to clue you in on just what would happen. In the 2003 remake of the movie, the lead actress was Jessica Biel. This made the TCMs original tagline, Who will survive and what will be left of them? kind of academic.

Looking at the various remakes of the films in this Criterion collection more than a half-dozen of the 23 pictures have gotten a rebooting or sequel of some sort its clear that even the better ones are afflicted by a self-consciousness that serves as a kind of creative wing-clipping.

2019s Rabid, written and directed by Jen Soska and Sylvia Soska, a talented Canadian filmmaking team, often casts itself as an overt homage not just to Cronenbergs 1977 picture but to the man and his entire body of genre work. In an operating room, for instance, the doctors don striking bright red robes just as the gynecologist twins the Mantle brothers did in Cronenbergs 1988 Dead Ringers.

In the original Rabid, which cast the porn star Marilyn Chambers in the lead role (and does feature nudity from her, albeit at a register very different from what was the case in Behind the Green Door), the protagonist Rose is something of a cipher, albeit an attractive one. She acquires a variation of the title condition after reconstructive surgery following a disfiguring motorcycle crash.

Cronenbergs view of the character is one of almost clinical detachment. The Soska Sisters take a perspective of female affinity and empathy. Here, Rose is a shy fashion designer disdained and abused by colleagues, including boss Gunther, whose clothing line is called Schadenfreude. (Hes played by Mackenzie Gray, who seems to be channeling Tommy Wiseau, not the greatest idea in this context. But he also utters a line in which the filmmakers seem to be telling on themselves a bit: Why do we keep recreating new trends?)

But once Rose (here incarnated by Laura Vandervoort) is transformed, the Soskas avoid a revenge of the wallflower scenario in favor of a slightly elaborate inquiry into Cronenbergian ideas that have found footing in the real world, including the notion of transhumanism.

Its interesting and engaging up to a point, if a little too frequently on-the-nose in some particulars. (Naming the transhumanist surgeon William S. Burroughs is almost inexcusable, even if people have paid respect to the visionary writer by using the handle of his signature character, Dr. Benway, more times than one can count.) And while it even features a reprise of the originals notorious mall-Santa gag, theres nothing in the movie that provides anything like a jaw-drop.

And theres the rub. The skeeviness and recklessness of Cronenbergs early vision (and this applies, too, to Cronenbergs 1975s Shivers, whose outrageous premise is Night of the Living Dead, only what-if-horny-instead-of-cannibal) can still rattle you in ways this picture doesnt.

The 2019 Black Christmas, the third film of that title, following the 1974 Canadian slasher pic (which is in the Criterion fest, and is also NOT a Santa is the killer item you may be thinking, rather, of 1984s Silent Night, Deadly Night, or of that Joan Collins episode in the 1972 Tales from the Crypt) is also a showcase for female filmmaking talent. Its directed by Sophia Takal from a script she cowrote with the astute critic April Wolfe. The serial-killer-stalking a college campus template gets fitted to a feminist sensibility. The protagonists, led by Imogen Poots, are sorority sisters fighting sexual assault and super-patriarchal frat culture. Their domestic dialogue features lines like I cant find my diva cup.

But while Takals superb 2016 film Always Shine was a galvanic exploration of female friendship gone toxic, Black Christmas sticks to positive archetypes. Thats not in and of itself a bad thing, but when done as laboriously as it is here, but it yields a story line whose resolution is every bit as predictable as any corporate-driven product. While the filmmaking has a commendable sense of propulsion, the complete absence of ambiguity makes for a less than resonant experience. Although Cary Elwess Roddy MacDowell impersonation is kind of noteworthy.

Veteran critic Glenn Kenny reviews new releases at RogerEbert.com, the New York Times, and, as befits someone of his advanced age, the AARP magazine. He blogs, very occasionally, at Some Came Running and tweets, mostly in jest, at @glenn__kenny.

Watch the '70s Horror Collection on the Criterion Channel

Read more here:
The '70s Horror Collection on Criterion Channel Proves They Don't Make 'Em Like They Used To - Decider

Recommendation and review posted by Alexandra Lee Anderson

Dublin Theatre Festival reviews: The Great Hunger, and To Be A Machine – Irish Examiner

The Great Hunger

IMMA

Four Stars

The Abbeys promenade production around the grounds of IMMA is the only live show to survive the dreaded Phase 3 Covid-19 protocols at this years Dublin Theatre Festival.

It divides the 14 stanzas of Patrick Kavanaghs titular long poem between individual performers, with troubadours leading the small, masked audience through the autumn evening.

We set out between two lines of illuminated trees, lured the stark, unmistakable voice of Lisa ONeil. Then, Liam Carney appears between the potato drills: old Patrick Maguire, the peasant farmer, clay made flesh. He stayed with his mother till she died/At the age of ninety-one.

By then, he was sixty-five". This is his tragedy; through it, Maguire personifies in Kavanaghs indictment the poverty, conservatism, and sexual frustration of the rural Ireland he knew.

While the satirical target might not be as obvious as it was when Kavanagh wrote The Great Hunger in 1942, the poem lends itself to dramatisation, thanks to Kavanaghs deft portraiture and his ability to conjure a telling scene.

It also, of course, speaks to the universal. Lines like Sometimes they did laugh and see the sunlight or something was brighter a moment have a sudden poignancy now.

Meanwhile, of the performers, Derbhle Crotty in particular shines in an intimate, captivating scene. Her aliveness to the words, her movement, her expressiveness are a wonder a reminder of the great hunger within us all for the kind of moments only theatre can deliver.

To Be a Machine

Project Theatre

Four Stars

Last year, Dead Centre gave audiences an empty stage for their ghost play Becketts room. This time, things are reversed: an actor is present, but the theatre is empty.

Game of Thrones star Jack Gleeson is the man in the room, playing the writer Mark OConnell in a faithful exploration of the ideas in his acclaimed book on transhumanism, To Be a Machine. The framing of the show gives ample scope for playful echoes and illustrations of OConnells themes.

To begin with, for instance, we are asked to upload videos of ourselves in advance of the performance. We see them on the night: electronic, disembodied versions of ourselves on individual tablet screens where the audience would be.

No better way, then, to discuss such things as the US company Alcor, which preserves its customers disembodied heads in the hope of reanimation; or whole brain emulation and the philosophical questions such a technology would raise.

Both shows end on October 10; for more, check out dublintheatrefestival.ie

Originally posted here:
Dublin Theatre Festival reviews: The Great Hunger, and To Be A Machine - Irish Examiner

Recommendation and review posted by Alexandra Lee Anderson


Page 11234..1020..»