Living in the Matrix: Virtual Reality Systems and Hyperspatial Representation in Architecture
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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films -
Thematic, Moral and Ethical Connections Between the Matrix and Inception
Thematic, Moral and Ethical Connections Between the Matrix and Inception. Modern Day science and technology has been crucial in the development of the modern film industry. In the past, directors have been confined by unwieldy, primitive cameras and the most basic of special effects. The contemporary possibilities now available has enabled modern film to become more dynamic and versatile, whilst also being able to better capture the performance of actors, and better display scenes and settings using special effects. As the prevalence of technology in society increases, film makers have used their medium to express thematic, moral and ethical concerns of technology in human life. The films I will be looking at: The Matrix, directed by the Wachowskis, and Inception, directed by Christopher Nolan, both explore strong themes of technology. The theme of technology is expanded upon as the directors of both films explore the use of augmented reality and its effects on the human condition. Through the use of camera angles, costuming and lighting, the Witkowski brothers represent the idea that technology is dangerous. During the sequence where neo is unplugged from the Matrix, the directors have cleverly combines lighting, visual and special effects to craft an ominous and unpleasant setting in which the technology is present. Upon Neo’s confrontation with the spider drone, the use of camera angles to establishes the dominance of technology. The low-angle shot of the drone places the viewer in a subordinate position, making the drone appear powerful. The dingy lighting and poor mis-en-scene in the set further reinforces the idea that technology is dangerous. -
What's in a Name? the Matrix As an Introduction to Mathematics
St. John Fisher College Fisher Digital Publications Mathematical and Computing Sciences Faculty/Staff Publications Mathematical and Computing Sciences 9-2008 What's in a Name? The Matrix as an Introduction to Mathematics Kris H. Green St. John Fisher College, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/math_facpub Part of the Mathematics Commons How has open access to Fisher Digital Publications benefited ou?y Publication Information Green, Kris H. (2008). "What's in a Name? The Matrix as an Introduction to Mathematics." Math Horizons 16.1, 18-21. Please note that the Publication Information provides general citation information and may not be appropriate for your discipline. To receive help in creating a citation based on your discipline, please visit http://libguides.sjfc.edu/citations. This document is posted at https://fisherpub.sjfc.edu/math_facpub/12 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. What's in a Name? The Matrix as an Introduction to Mathematics Abstract In lieu of an abstract, here is the article's first paragraph: In my classes on the nature of scientific thought, I have often used the movie The Matrix to illustrate the nature of evidence and how it shapes the reality we perceive (or think we perceive). As a mathematician, I usually field questions elatedr to the movie whenever the subject of linear algebra arises, since this field is the study of matrices and their properties. So it is natural to ask, why does the movie title reference a mathematical object? Disciplines Mathematics Comments Article copyright 2008 by Math Horizons. -
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 . -
The Matrix As an Introduction to Mathematics
St. John Fisher College Fisher Digital Publications Mathematical and Computing Sciences Faculty/Staff Publications Mathematical and Computing Sciences 2012 What's in a Name? The Matrix as an Introduction to Mathematics Kris H. Green St. John Fisher College, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/math_facpub Part of the Mathematics Commons How has open access to Fisher Digital Publications benefited ou?y Publication Information Green, Kris H. (2012). "What's in a Name? The Matrix as an Introduction to Mathematics." Mathematics in Popular Culture: Essays on Appearances in Film, Fiction, Games, Television and Other Media , 44-54. Please note that the Publication Information provides general citation information and may not be appropriate for your discipline. To receive help in creating a citation based on your discipline, please visit http://libguides.sjfc.edu/citations. This document is posted at https://fisherpub.sjfc.edu/math_facpub/18 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. What's in a Name? The Matrix as an Introduction to Mathematics Abstract In my classes on the nature of scientific thought, I have often used the movie The Matrix (1999) to illustrate how evidence shapes the reality we perceive (or think we perceive). As a mathematician and self-confessed science fiction fan, I usually field questionselated r to the movie whenever the subject of linear algebra arises, since this field is the study of matrices and their properties. So it is natural to ask, why does the movie title reference a mathematical object? Of course, there are many possible explanations for this, each of which probably contributed a little to the naming decision. -
What Is the Link Between Religion, Myth and Plot in Any 2 Films of the Science Fiction Genre
Danielle Raffaele Robert A Dallen Prize Topic: A study of the influence of the Bible on the two contemporary science fiction films, The Matrix and Avatar, with a focus on the link between religion, myth and plot. The two films The Matrix (1999, the Wachowski brothers) and Avatar (2009, James Cameron)1 belong to the science fiction genre2 of the contemporary film world and each evoke a diverse set of religiosity and myth within their respective plots. The two films are rich with both overt and subvert religious imagery of motifs and symbolism which one can interpret as belonging to many diverse streams of religious thought and practice across the globe.3 For the purpose of this essay I will be focussing specifically on one religious mode of thought being a Judeo-Christian look at the role of the Messiah and its relation to the hero myth. I will develop this by exploring the archetype of the hero with the two different roles of the biblical Messiah (one being conqueror, and the other of 1 In this essay I presume the reader is familiar with the two films as I do not provide an extensive synopsis or summary of them. I recommend going to the Internet Movie Database (http://imdb.com) and searching for ‘The Matrix’ and ‘Avatar’ for a generous reading of the two plots. 2 Science fiction as a genre will not be discussed in this essay but a definition that struck me as useful for the purpose here is, “My own definition is that science fiction is literature about something that hasn’t happened yet, but might be possible some day. -
3.2 Bullet Time and the Mediation of Post-Cinematic Temporality
3.2 Bullet Time and the Mediation of Post-Cinematic Temporality BY ANDREAS SUDMANN I’ve watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. —Morpheus in The Matrix Digital computers, these universal machines, are everywhere; virtually ubiquitous, they surround us, and they do so all the time. They are even inside our bodies. They have become so familiar and so deeply connected to us that we no longer seem to be aware of their presence (apart from moments of interruption, dysfunction—or, in short, events). Without a doubt, computers have become crucial actants in determining our situation. But even when we pay conscious attention to them, we necessarily overlook the procedural (and temporal) operations most central to computation, as these take place at speeds we cannot cognitively capture. How, then, can we describe the affective and temporal experience of digital media, whose algorithmic processes elude conscious thought and yet form the (im)material conditions of much of our life today? In order to address this question, this chapter examines several examples of digital media works (films, games) that can serve as central mediators of the shift to a properly post-cinematic regime, focusing particularly on the aesthetic dimensions of the popular and transmedial “bullet time” effect. Looking primarily at the first Matrix film | 1 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality (1999), as well as digital games like the Max Payne series (2001; 2003; 2012), I seek to explore how the use of bullet time serves to highlight the medial transformation of temporality and affect that takes place with the advent of the digital—how it establishes an alternative configuration of perception and agency, perhaps unprecedented in the cinematic age that was dominated by what Deleuze has called the “movement-image.”[1] 1. -
Unbelievable Bodies: Audience Readings of Action Heroines As a Post-Feminist Visual Metaphor
Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor Jennifer McClearen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Ralina Joseph, Chair LeiLani Nishime Program Authorized to Offer Degree: Communication ©Copyright 2013 Jennifer McClearen Running head: AUDIENCE READINGS OF ACTION HEROINES University of Washington Abstract Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor Jennifer McClearen Chair of Supervisory Committee: Associate Professor Ralina Joseph Department of Communication In this paper, I employ a feminist approach to audience research and examine the individual interviews of 11 undergraduate women who regularly watch and enjoy action heroine films. Participants in the study articulate action heroines as visual metaphors for career and academic success and take pleasure in seeing women succeed against adversity. However, they are reluctant to believe that the female bodies onscreen are physically capable of the action they perform when compared with male counterparts—a belief based on post-feminist assumptions of the limits of female physical abilities and the persistent representations of thin action heroines in film. I argue that post-feminist ideology encourages women to imagine action heroines as successful in intellectual arenas; yet, the ideology simultaneously disciplines action heroine bodies to render them unbelievable as physically powerful women. -
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. -
Read Book Simulacron-3 1St Edition
SIMULACRON-3 1ST EDITION PDF, EPUB, EBOOK Daniel F Galouye | 9781612420202 | | | | | Simulacron-3 1st edition PDF Book The groups' long time arranger Larry Cansler had a successful career in the studios in Los Angeles scoring many movies including The Gambler series , variety shows, the Smothers Brothers Comedy Hour and many national commercials. By the mids, frontman Kenny Rogers had embarked on a solo music career, becoming one of the top-selling country artists of all time. Original Title. Now in its second year, an album of live versions of the "Calico" songs and hits like "Ruby," "Reuben James" and "Just Dropped In" could have sold quite well, bringing proven hits to the Jolly Rogers label at the same time. Terry later said that this made him feel like one of Gladys Knight 's Pips. Dec 19, Franky rated it really liked it Shelves: the-hard-challenge , sci-fi. Thankfully, it also offers the reader some moral opinions on how to proceed in the face of these unanswerable questions. Follow Blog via Email Enter your email address to follow this blog and receive notifications of new posts by email. In any event, what was Simulacron-3 about? The recording was a Kin Vassy era performance of an unknown date. You have a tenable mind George. Enter the private company Reactions, Inc. Dick would produced more work in about the same life span. Most of the sociological premises having to do with opinion polling, the reason for the simulations, have been trimmed. The third single from the album, a version of Merle Haggard 's "Today I Started Loving You Again" reached the lower regions of the country charts in mid This theme of choice is crucial to the plot of The Matrix in the sequels. -
Images of the Religious in Horror Films
Journal of Religion & Film Volume 5 Issue 2 October 2001 Article 7 October 2001 The Sanctification of ear:F Images of the Religious in Horror Films Bryan Stone Boston University School of Theology, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stone, Bryan (2001) "The Sanctification of ear:F Images of the Religious in Horror Films," Journal of Religion & Film: Vol. 5 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol5/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The Sanctification of ear:F Images of the Religious in Horror Films Abstract Horror film functions both as a threat and a catharsis by confronting us with our fear of death, the supernatural, the unknown and irrational, ''the other" in general, a loss of identity, and forces beyond our control. Over the last century, religious symbols and themes have played a prominent and persistent role in the on-screen construction of this confrontation. That role is, at the same time, ambiguous insofar as religious iconography has become unhinged from a compelling moral vision and reduced to mere conventions that produce a quasi-religious quality to horror that lacks the symbolic power required to engage us at the deepest level of our being. Although religious symbols in horror films are conventional in their frequent use, they may have lost all connection to deeper human questions. -
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.