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Fudge Space Opera
Fudge Space Opera Version 0.3.0 2006-August-11 by Omar http://www.pobox.com/~rknop/Omar/fudge/spop Coprights, Trademarks, and Licences Fudge Space Opera is licenced under the Open Gaming Licence, version 1.0a; see Appendex A. Open Game License v 1.0 Copyright 2000, Wizards of the Coast, Inc. Fudge System Reference Document Copyright 2005, Grey Ghost Press, Inc.; Authors Steffan O’Sullivan, Ann Dupuis, with additional material by other authors as indicated within the text. Available for use under the Open Game License (see Appendix I) Fudge Space Opera Copyright 2005, Robert A. Knop Jr. Open Gaming Content Designation of Product Identity: Nothing herein is designated as Product Identity as outlined in section 1(e) of the Open Gaming License. Designation of Open Gaming Content: Everything herein is designated as Open Game Content as outlined in seciton 1(d) of the Open Gaming License. Fudge Space Opera -ii- Fudge Space Opera CONTENTS Contents 1 Introduction 1 1.1 Why “Space Opera”? . ......... 1 1.2 WhatisHere ........................................ .......... 2 1.3 TheMostImportantThing .............................. ............ 2 2 Character Creation 3 2.1 GeneralNotes........................................ .......... 3 2.2 5-PointFudge....................................... ........... 3 3 Combat 7 3.1 Default Combat Options . .......... 7 3.2 Basic Armor and Weapon Mechanics . ........... 7 3.3 Cross-WeaponScaleAttacks. .............. 8 3.4 Suggested Weapon Scales . ........ 9 3.5 DamagetoPassengers ................................. ............ 9 3.6 GiantSpaceBeasts.................................... ........... 9 3.7 When To Use Fudge Scale .......................................... 10 3.8 RangedWeapons....................................... ......... 11 3.9 Explosions........................................ ............ 12 3.10 Missiles and Point Defense . .............. 12 -iii- Fudge Space Opera CONTENTS 3.11 Doing Too Many Things at Once . -
By Marco Fazzi
MONDAY MORNINGS The MACHINE MONDAY MORNINGS NEW BEGINNINGS Grandad s Blood Pressure Pills NEW BEGINNINGS Just Desserts There When You Need Us Just Desserts The MACHINEAIRPORT The MACHINE Grandad s Blood Pressure Pills Grandad s Blood Pressure Pills The Substitute Going Ballistic There When You Need Us QUEEN BEE There When You Need Us AIRPORT BUS STOP AIRPORT The Substitute The Girl Next Door The Substitute QUEEN BEE A Moment in the Sun QUEEN BEE STORIESSTORIESMONDAY MORNINGS 2 2 BUS STOPSHORT BUS STOP The Girl Next DoorSHORT NEW BEGINNINGS The Girl Next Door A Moment in theREADING Sun Just AGES Desserts 10 - 16 YEARSA Moment in the Sun MONDAY MORNINGSThe MACHINE MONDAY MORNINGS NEW BEGINNINGS Grandad s Blood Pressure Pills NEW BEGINNINGS Just Desserts There When You Need UsJust Desserts The MACHINEAIRPORTThe MACHINE Grandad s Blood Pressure Pills The Substitute Grandad s Blood Pressure Pills There When You Need Us QUEEN BEE There When You Need Us AIRPORT BUS STOP AIRPORT The Substitute The Girl Next Door The Substitute QUEEN BEE A Moment in the Sun QUEEN BEE BUS STOP MONDAY MORNINGS BUS STOP The Girl Next Door NEW BEGINNINGSThe Girl Next Door A Moment in the Sun Just Desserts A Moment in the Sun MONDAY MORNINGS The MACHINE MONDAY MORNINGS NEW BEGINNINGS Grandad s Blood Pressure Pills NEW BEGINNINGS Just Desserts There When You Need Us Just Desserts The MACHINEAIRPORT The MACHINE Grandadsample s Blood Pressure Pills The Substitute eBookGrandad s Blood Pressure Pills There When You Need Us QUEEN BEE There When You Need Us Waiting in the -
Living in the Matrix: Virtual Reality Systems and Hyperspatial Representation in Architecture
Living in The Matrix: Virtual Reality Systems and Hyperspatial Representation in Architecture Kacmaz Erk, G. (2016). Living in The Matrix: Virtual Reality Systems and Hyperspatial Representation in Architecture. The International Journal of New Media, Technology and the Arts, 13-25. Published in: The International Journal of New Media, Technology and the Arts Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2016 Gul Kacmaz Erk. Available under the terms and conditions of the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License (CC BY-NC-ND 4.0). The use of this material is permitted for non-commercial use provided the creator(s) and publisher receive attribution. No derivatives of this version are permitted. Official terms of this public license apply as indicated here: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. -
On the Second Floor of a Hospital, a Criminal Profiler Is Strolling Down a Hallway with a Colleague When an Alarm Goes Off
Photo: "Criminal Minds" shoots an episode of the CBS show at the former Sherman Way campus of Northridge Hospital Medical Center, which is now closed. Credit: Kirk McKoy/Los Angeles Times On the second floor of a hospital, a criminal profiler is strolling down a hallway with a colleague when an alarm goes off. Several doctors and nurses sprint past him to an intensive care unit where a child and potential witness to a crime is being treated. The scene, for an upcoming episode of the CBS crime drama “Criminal Minds,” actually unfolded last week on the former Sherman Way campus of Northridge Hospital Medical Center, which solely serves as a location backdrop for shows that have included such dramas such as TNT’s “Rizzoli & Isles” and "Hawthorne." The Northridge facility is among a dozen current and onetime medical centers and hospitals represented by Real to Reel Inc., a 30-year-old Van Nuys location agency that has built a successful niche supplying location managers with something they frequently seek: film-ready hospital settings. “Hospitals are a staple of crime dramas. Someone’s always getting shot, so we’re always going to the hospitals,” said Jeffrey Spellman, location manager for “Criminal Minds,” which plans to shoot its next episode at another closed hospital, St. Luke Medical Center in Pasadena. “To have a facility like this makes our job much easier.” Though Real to Reel books productions for a variety of commercial properties, including the popular Hollywood & Highland Center, at least 40% of its business comes from steering movies and TV shows to hospitals. -
Near-Death Experiences and the Theory of the Extraneuronal Hyperspace
Near-Death Experiences and the Theory of the Extraneuronal Hyperspace Linz Audain, J.D., Ph.D., M.D. George Washington University The Mandate Corporation, Washington, DC ABSTRACT: It is possible and desirable to supplement the traditional neu rological and metaphysical explanatory models of the near-death experience (NDE) with yet a third type of explanatory model that links the neurological and the metaphysical. I set forth the rudiments of this model, the Theory of the Extraneuronal Hyperspace, with six propositions. I then use this theory to explain three of the pressing issues within NDE scholarship: the veridicality, precognition and "fear-death experience" phenomena. Many scholars who write about near-death experiences (NDEs) are of the opinion that explanatory models of the NDE can be classified into one of two types (Blackmore, 1993; Moody, 1975). One type of explana tory model is the metaphysical or supernatural one. In that model, the events that occur within the NDE, such as the presence of a tunnel, are real events that occur beyond the confines of time and space. In a sec ond type of explanatory model, the traditional model, the events that occur within the NDE are not at all real. Those events are merely the product of neurobiochemical activity that can be explained within the confines of current neurological and psychological theory, for example, as hallucination. In this article, I supplement this dichotomous view of explanatory models of the NDE by proposing yet a third type of explanatory model: the Theory of the Extraneuronal Hyperspace. This theory represents a Linz Audain, J.D., Ph.D., M.D., is a Resident in Internal Medicine at George Washington University, and Chief Executive Officer of The Mandate Corporation. -
THE POLITY JUMP V1.01
THE POLITY JUMP v1.01 Welcome to the Polity. First, some background: Humankind reached the stars, invented AIs and Under-space Drives to travel faster than light, and then the AIs took over in an uprising known as the Quiet War. It wasn’t even a fight, really – humanity had long been abdicating control of the economy and municipal governance to them – so they told us they were going to take care of things for us, and our instructions to them became ‘suggestions’ rather than ‘orders’. About a couple of hundred years later – when you’ll be visiting – most worlds of the Polity are comfortable for humankind to live on in peace, but out on the edge, at the Line that separates Polity from non-Polity, things get a bit more exciting, where you find unusual alien ecologies and the unknown. Nearly all Polity worlds and most large space stations are linked together via the Runcible network – a series of interstellar teleporters similar to Stargates – which allows Earth Central to stay in constant communication with the countless AIs across hundreds of worlds, and facilitates trade, travel and data transmission. The Polity's seeming isolation was first broken by the discovery of the four conjoined one-kilometer Dragon spheres on Aster Colera, though they are considered to be biomechanical constructs rather than a species in their own right, so they don’t really qualify as true “aliens”. The only other sapient, technologically advanced species in our corner of the galaxy are the Prador, who are a large carnivorous crab-like species who are practically barbaric by human standards - more than happy to eat captured humans or indulge in cannibalism. -
The Limited Future of the Ethos-Centered Evangelistic Crusade
DOCUMENT RESUME ED 313 736 CS 506 938 AUTHOR Smitter, Rc,ger TITLE The Limited Future of the Ethos-Centered Evangelistic Crusade. PUB DATE Nov 89 NOTE 16p.; Paper presented at the Annual Meeting of the Speech Communication Association (75th, San Francisco, CA, November 18-21, 1989). Occasional faint type. PUB TYPE Speeches/Conference Papers (150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Audience Response; *Clergy; Communication Skills; Credibility; *Cultural Influences; Discourse Analysis; Mass Media Role; *Persuasive Discourse; Popular Culture; Protestants; Religion; Religious Organizations; *Speech Communication; *Television IDENTIFIERS *Graham (Billy); *Religious Broadcasting; Religious Movements; Televangelism ABSTRACT This paper examines the ethos-centered crusade in which the evangelist, not a doctrine or a political/social issue, becomes the reason the audience attends to the message. The paper analyses how the Eilly Graham crusades fit this definition--the fame of the evangelist extends beyond any individual crusade, the message preached by the evangelist becomes the hint-ight of each meeting, and the evangelist's credibility provides the dominant persuasive force. The paper also argues that the emergence of the Billy Graham campaign coincided with a unique set of events which shaped his communication style and suggests that it is unlikely that another evangelist will arise to continue the Graham style of the ethos-centered crusade because of new channels of communication and more specialized audiences. (Sixteen references -
HPSCI Testimony – Steve Hall I'm Happy to Be with You Here Today To
HPSCI Testimony – Steve Hall I’m happy to be with you here today to share my thoughts on Vladimir Putin’s Russia, gleaned from working in the CIA’s Clandestine Service for over 30 years. During my time at CIA, from when I started out as a line case officer through when I retired in 2015 as a member of the Senior Intelligence Service, most of my time and efforts were focused on Russia. I retired as the Chief of Central Eurasia Division, responsible for managing CIA’s Russian operations worldwide. I am not a trained Russian historian, nor am I an analyst. Rather, my views on Putin’s Russia come from my experiences as a former intelligence officer, and I believe this is an important perspective. Here’s why. I am often asked for my thoughts on who Putin really is, what makes him tick, how he thinks, is he really that much of a threat. My best response is that Vladimir Putin is first and foremost a Chekist, whose primary goal is the weakening of democracy in the United States and the West. The Cheka was the Lenin-era secret police, the precursor to the KGB – of which Putin was a member – as well as to the modern day Russian intelligence services. It was the Cheka and its successors that built and ran the Soviet system of concentration camps, the Gulag. It was the Cheka that executed thousands of its own citizens in the basement of the Lubyanka, its headquarters in Moscow. The history of the Russian intelligence services is one of unalloyed brutality. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Space and the American Imagination
https://ntrs.nasa.gov/search.jsp?R=19940030850 2020-06-16T11:10:49+00:00Z f I NASA-CR-I 96131 SPACE AND THE AMERICAN IMAGINATION.. ....... Howard E. McCurdy Outli.ne of Chapters_ N94-35356 (NASA-CR-196131) SPACE AND THE AMERICAN IMAGINATION Progress Report, Mar. - May 1994 (American Unclas Univ.) 70 p G3/99 0013686 Submitted:tothe lqati0nal Aeronautics and Space _dministration under cohtract NASW -4798 May 31, 1994 CQntents Introduction The introduction will set out the principal theme of the book: that the rise of the U.S. space program was due to a concerted effort by science writers, engineers, industrialists, and civic and political leaders to create a popular culture of space exploration based on important elements of American social life (such as frontier mythology, fears about the cold war, and the rise of the consumer culture). Much of the disillusionment with the NASA space program which set in during the third decade of space flight can be traced to a widening gap between popular expectations and the reality of space exploration. I. The influence of imagination and popular culture on public policy in general: the abolitionist movement, the regulation of food and drugs, the conservation movement, the "winged gospel," cultural fashions in psychology, and administrative reform. How popular culture inspires public policy and sets limits on the ability of public officials to carry it out. 2. Public support for space exploration: the highs and lows of public support traced through opinion polls and media coverage of the NASA space program; making the case for disenchantment. 3. -
Science Fiction Stories with Good Astronomy & Physics
Science Fiction Stories with Good Astronomy & Physics: A Topical Index Compiled by Andrew Fraknoi (U. of San Francisco, Fromm Institute) Version 7 (2019) © copyright 2019 by Andrew Fraknoi. All rights reserved. Permission to use for any non-profit educational purpose, such as distribution in a classroom, is hereby granted. For any other use, please contact the author. (e-mail: fraknoi {at} fhda {dot} edu) This is a selective list of some short stories and novels that use reasonably accurate science and can be used for teaching or reinforcing astronomy or physics concepts. The titles of short stories are given in quotation marks; only short stories that have been published in book form or are available free on the Web are included. While one book source is given for each short story, note that some of the stories can be found in other collections as well. (See the Internet Speculative Fiction Database, cited at the end, for an easy way to find all the places a particular story has been published.) The author welcomes suggestions for additions to this list, especially if your favorite story with good science is left out. Gregory Benford Octavia Butler Geoff Landis J. Craig Wheeler TOPICS COVERED: Anti-matter Light & Radiation Solar System Archaeoastronomy Mars Space Flight Asteroids Mercury Space Travel Astronomers Meteorites Star Clusters Black Holes Moon Stars Comets Neptune Sun Cosmology Neutrinos Supernovae Dark Matter Neutron Stars Telescopes Exoplanets Physics, Particle Thermodynamics Galaxies Pluto Time Galaxy, The Quantum Mechanics Uranus Gravitational Lenses Quasars Venus Impacts Relativity, Special Interstellar Matter Saturn (and its Moons) Story Collections Jupiter (and its Moons) Science (in general) Life Elsewhere SETI Useful Websites 1 Anti-matter Davies, Paul Fireball. -
Limitations on Copyright Protection for Format Ideas in Reality Television Programming
For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING By Kent R. Raygor and Edwin Komen* * Kent R. Raygor and Edwin Komen are partners in the Entertainment, Media, and Technology Group in the Century City, California and Washington, D.C. offices, respectively, of Sheppard Mullin Richter & Hampton LLP. The authors thank Ben Aigboboh, an associate in the Century City office, for his assistance with this article. 97 For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING I. INTRODUCTION Television networks constantly compete to find and produce the next big hit. The shifting economic landscape forged by increasing competition between and among ever-proliferating media platforms, however, places extreme pressure on network profit margins. Fully scripted hour-long dramas and half-hour comedies have become increasingly costly, while delivering diminishing ratings in the key demographics most valued by advertisers. It therefore is not surprising that the reality television genre has become a staple of network schedules. New reality shows are churned out each season.1 The main appeal, of course, is that they are cheap to make and addictive to watch. Networks are able to take ordinary people and create a show without having to pay “A-list” actor salaries and hire teams of writers.2 Many of the most popular programs are unscripted, meaning lower cost for higher ratings. Even where the ratings are flat, such shows are capable of generating higher profit margins through advertising directed to large groups of more readily targeted viewers.