The Making of Enter the Matrix
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Enter the Matrix: Safely Interruptible Autonomous Systems Via Virtualization
Enter the Matrix: Safely Interruptible Autonomous Systems via Virtualization Mark O. Riedl Brent Harrison School of Interactive Computing Department of Computer Science Georgia Institute of Technology University of Kentucky [email protected] [email protected] Abstract • An autonomous system may have imperfect sensors and perceive the world incorrectly, causing it to perform the Autonomous systems that operate around humans will wrong behavior. likely always rely on kill switches that stop their exe- cution and allow them to be remote-controlled for the • An autonomous system may have imperfect actuators and safety of humans or to prevent damage to the system. It thus fail to achieve the intended effects even when it has is theoretically possible for an autonomous system with chosen the correct behavior. sufficient sensor and effector capability that learn on- • An autonomous system may be trained online meaning line using reinforcement learning to discover that the kill switch deprives it of long-term reward and thus it is learning as it is attempting to perform a task. Since learn to disable the switch or otherwise prevent a hu- learning will be incomplete, it may try to explore state- man operator from using the switch. This is referred to action spaces that result in dangerous situations. as the big red button problem. We present a technique Kill switches provide human operators with the final author- that prevents a reinforcement learning agent from learn- ing to disable the kill switch. We introduce an interrup- ity to interrupt an autonomous system and remote-control it tion process in which the agent’s sensors and effectors to safety. -
Bianca Del Rio Floats Too, B*TCHES the ‘Clown in a Gown’ Talks Death-Drop Disdain and Why She’S Done with ‘Drag Race’
Drag Syndrome Barred From Tanglefoot: Discrimination or Protection? A Guide to the Upcoming Democratic Presidential Kentucky Marriage Battle LGBTQ Debates Bianca Del Rio Floats Too, B*TCHES The ‘Clown in a Gown’ Talks Death-Drop Disdain and Why She’s Done with ‘Drag Race’ PRIDESOURCE.COM SEPT.SEPT. 12, 12, 2019 2019 | | VOL. VOL. 2737 2737 | FREE New Location The Henry • Dearborn 300 Town Center Drive FREE PARKING Great Prizes! Including 5 Weekend Join Us For An Afternoon Celebration with Getaways Equality-Minded Businesses and Services Free Brunch Sunday, Oct. 13 Over 90 Equality Vendors Complimentary Continental Brunch Begins 11 a.m. Expo Open Noon to 4 p.m. • Free Parking Fashion Show 1:30 p.m. 2019 Sponsors 300 Town Center Drive, Dearborn, Michigan Party Rentals B. Ella Bridal $5 Advance / $10 at door Family Group Rates Call 734-293-7200 x. 101 email: [email protected] Tickets Available at: MiLGBTWedding.com VOL. 2737 • SEPT. 12 2019 ISSUE 1123 PRIDE SOURCE MEDIA GROUP 20222 Farmington Rd., Livonia, Michigan 48152 Phone 734.293.7200 PUBLISHERS Susan Horowitz & Jan Stevenson EDITORIAL 22 Editor in Chief Susan Horowitz, 734.293.7200 x 102 [email protected] Entertainment Editor Chris Azzopardi, 734.293.7200 x 106 [email protected] News & Feature Editor Eve Kucharski, 734.293.7200 x 105 [email protected] 12 10 News & Feature Writers Michelle Brown, Ellen Knoppow, Jason A. Michael, Drew Howard, Jonathan Thurston CREATIVE Webmaster & MIS Director Kevin Bryant, [email protected] Columnists Charles Alexander, -
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. -
Document 273 5-5-2014 – Download
Case 2:07-cv-00552-DB-EJF Document 273 Filed 05/05/14 Page 1 of 46 PROSE 1 SOPHIA STEWART P.O. BOX 31725 2 Las Vegasl NV 89173 3 702-501-5900 (PH) 4 ... IN PROPRIA PERSONA v: ---;;:\-CQ\( 5 IN THE UNITED STATES DISTRICT COURT \l~YU I I "' 6 FOR THE DISTRICT OF UTAH 7 SOPHIA STEWART, HON. EVELYN J. FURSE 8 Plaintiff, v. HON. DEE BENSON 9 MICHAEL STOLLER, GARY BROWN, Case No.: 2:07CV552 DB-EJF 10 DEAN WEBB, AND JONATHAN 11 LUBELL OBJECTION TO COURT DENIAL Defendants. TO AWARD DAMAGES AGAINST 12 DEFENDANT LUBELL AND 13 DEMAND FOR EXPEDITED AWARD 14 15 16 COMES NOW1 PLAINTIFF SOPHIA STEWART1 bringing forth the Objection To the 17 Court's Denial To Award Damages Against All Defendants And Demand For 18 Expedited Award of Damages in the amount of One Billion Three Hundred and 19 Sixty Seven Million $1,367,000,000.00 dollars for The Matrix Trilogy damages and 20 Three point five Billion $3,580,000,000.00 dollars in damages for the Terminator 21 Franchise Series. 22 23 Plaintiff brings forth this objection against the court for violating the 24 Plaintiff's constitutional Sixth and fourth amendments "Due Process and Equal 25 Protection" rights and obstructing her from a jury trial and the ability to face the 26 defendants in court for more than 6 years while Jonathan Lubell was deceased, 27 thus constituting a violation of racial discrimination and fraud. Racial 28 discrimination by concerted action is a federal offense under 18 U.S.C. -
Christianity, Buddhism & Baudrillard in the Matrix Films and Popular Culture
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2010 The Desert of the Real: Christianity, Buddhism & Baudrillard in The Matrix Films and Popular Culture James F. McGrath Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the Philosophy Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation James F. McGrath. "The Desert of the Real: Christianity, Buddhism & Baudrillard in The Matrix Films and Popular Culture" Visions of the Human in Science Fiction and Cyberpunk. Ed. Marcus Leaning & Birgit Pretzsch. Oxford, UK: Inter-Disciplinary Press, 2010. 161-172. Available from: digitalcommons.butler.edu/ facsch_papers/556/ This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Edited by Marcus Leaning & Birgit Pretzsch The Desert of the Real: Christianity, Buddhism & Baudrillard in The Matrix Films and Popular Culture James F. McGrath Abstract The movie The Matrix and its sequels draw explicitly on imagery from a number of sources, including in particular Buddhism, Christianity, and the writings of Jean Baudrillard. A perspective is offered on the perennial philosophical question ‘What is real?’, using language and symbols drawn from three seemingly incompatible world views. In doing so, these movies provide us with an insight into the way popular culture makes eclectic use of various streams of thought to fashion a new reality that is not unrelated to, and yet is nonetheless distinct from, its religious and philosophical undercurrents and underpinnings. -
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. -
Instructables.Com/Id/How-To-Enter-The-Ghetto-Matrix-DIY-Bullet-Time/ License: Public Domain Dedication (Pd)
Home Sign Up! Explore Community Submit All Art Craft Food Games Green Home Kids Life Music Offbeat Outdoors Pets Photo Ride Science Tech How to Enter the Ghetto Matrix (DIY Bullet Time) by fi5e on December 19, 2007 Table of Contents License: Public Domain Dedication (pd) . 2 Intro: How to Enter the Ghetto Matrix (DIY Bullet Time) . 2 step 1: Tools & Materials . 4 step 2: Dimension . 8 step 3: Cut Wood . 9 step 4: Drill Holes . 10 step 5: Stand Connections . 11 step 6: Shutter Cable Hack . 13 step 7: the Control Box . 15 step 8: Setting Up the Rig . 20 step 9: Connecting All the Cameras . 22 step 10: Pick Your Spot! . 23 step 11: Ghetto Matrix Operations Quick-Start Guide . 24 step 12: Act a Fool Son! . 30 step 13: Post Production . 40 step 14: Fin . 42 Related Instructables . 43 Advertisements . 43 Comments . 43 http://www.instructables.com/id/How-to-Enter-the-Ghetto-Matrix-DIY-Bullet-Time/ License: Public Domain Dedication (pd) Intro: How to Enter the Ghetto Matrix (DIY Bullet Time) The following is a tutorial on how to build your own cheap, portable and hood-style bullet time camera rig on the cheap and the fly. This rig was designed by the Graffiti Research Lab and director Dan the Man to use in a hip-hop music video for underground rappers Styles P , AZ and the legendary Large Professor (spinning below). Just another chapter in the GRL's continuing mission to make open source the sixth element of hip-hop. Peep the vid at the resolution of the proletariat (below): Or see how the higher-res live here . -
Japanese Cinema at the Digital Turn Laura Lee, Florida State University
1 Between Frames: Japanese Cinema at the Digital Turn Laura Lee, Florida State University Abstract: This article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape. The advent of digital media and the perceived danger it has implied for the status of cinema have resulted in an inevitable nostalgia for the unique properties of the latter. In many Japanese films at the digital turn this manifests itself as a staging of the cinematic apparatus, in 1 which cinema is refracted through composite media arrangements. -
Report from Edinbur H • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview
Report From Edinbur h • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview World of Black Film Collectors Remembering Lorenzo Tucker- The Black. Gil Noble Plans Valentino Like It Is Archive Film Clips and News Early Black Independents Co-produced with the Black Film Institute of the University of the District of Columbia ••••••••••••••••••••••••••••••• Vol. 2, No. 4/Fa111986 'Peter Wang Breaks Cultural Barriers Black Film Review by Pat Aufderheide 10 SSt., NW An Interview with the director of A Great Wall p. 6 Washington, DC 20001 (202) 745-0455 Remembering lorenzo Tucker Editor and Publisher by Roy Campanella, II David Nicholson A personal reminiscence of one of the earliest stars of black film. ... p. 9 Consulting Editor Quick Takes From Edinburgh Tony Gittens by Clyde Taylor (Black Film Institute) Filmmakers debated an and aesthetics at the Edinburgh Festival p. 10 Associate EditorI Film Critic Anhur Johnson Film as a Force for Social Change Associate Editors by Charles Burnett Pat Aufderheide; Keith Boseman; Excerpts from a paper delivered at Edinburgh p. 12 Mark A. Reid; Saundra Sharp; A. Jacquie Taliaferro; Clyde Taylor Culture of Resistance Contributing Editors Excerpts from a paper p. 14 Bill Alexander; Carroll Parrott Special Section: Black Film History Blue; Roy Campanella, II; Darcy Collector's Dreams Demarco; Theresa furd; Karen by Saundra Sharp Jaehne; Phyllis Klotman; Paula Black film collectors seek to reclaim pieces of lost heritage p. 16 Matabane; Spencer Moon; An drew Szanton; Stan West. With a repon on effons to establish the Like It Is archive p. -
5 Annoying Trends That Make Every Movie Look the Same | Cracked.Com
7/12/12 5 Annoying Trends That Make Every Movie Look the Same | Cracked.com You Might Be A Zombie! iPad App Horror On Cracked Write For Us Login or Register Articles Videos Columnists Forums Quick Fixes Photoplasty More Categoriies:: Movies & TV Video Games Music Sports Tech History Science Celebrities Weird World Urinal Attacks: The 6 Movies With Political When Movie Montages Next Scary News Trend Agendas You Didn't Get Out of Hand Notice Home Mov ies & TV 5 Annoy ing Trends That Make Ev ery Mov ie Look the Same 20k Trending Now 5 Annoying Trends That Make Every 6 Mind Blowing Special Effects Y ou Won't Like Movie Look the Same Believe Aren't CGI 1,739 The 6 Creepiest Lies the Food Industry is Feeding Y ou By: Dan Seitz August 05, 2010 3,844,222 views 6 Famous Symbols That Don't Mean What Add to Favorites Send Y ou Think 1,133 Tw eet Hollywood: the dream factory, the place where joy is made and everybody craps rainbows and cocaine. But underneath the glitz is a bunch of working stiffs who are either just trying to get the job done, or hacks who get their original ideas by ripping off other hacks. That's why these days... Friends' Recent Activity #5. Movies are Color-Coded by Genre Have You Ever Noticed: There's some unwritten rule that horror movies should be blue: www.cracked.com/article_18664_5-annoying-trends-that-make-every-movie-look-same.html 1/12 7/12/12 5 Annoying Trends That Make Every Movie Look the Same | Cracked.com 6 Completely Legal Ways The Cops Can Screw Y ou By: Cezary Jan Strusiew icz 3,107,804 view s 9 Houses Y ou Won't Believe People Actually Live In By: Eric Yosomono, Mike Cooney 1,145,303 view s 8 Words Y ou're Confusing With The Ring Other Words By: Christina H 1,048,524 view s Crazy Eight: The Top Crazy Girlfriends in Movie History By: Michael Alarcon 731,278 view s 5 Modern Sports That Started As Excuses for Sex and Violence By: Mark Hill S aw 706,935 view s Cracked Shows The Nightmare on Elm S treet reboot. -
Inside the Video Game Industry
Inside the Video Game Industry GameDevelopersTalkAbout theBusinessofPlay Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman Downloaded by [Pennsylvania State University] at 11:09 14 September 2017 First published by Routledge Th ird Avenue, New York, NY and by Routledge Park Square, Milton Park, Abingdon, Oxon OX RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © Taylor & Francis Th e right of Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman to be identifi ed as authors of this work has been asserted by them in accordance with sections and of the Copyright, Designs and Patents Act . All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Names: Ruggill, Judd Ethan, editor. | McAllister, Ken S., – editor. | Nichols, Randall K., editor. | Kaufman, Ryan, editor. Title: Inside the video game industry : game developers talk about the business of play / edited by Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman. Description: New York : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, [] | Includes index. Identifi ers: LCCN | ISBN (hardback) | ISBN (pbk.) | ISBN (ebk) Subjects: LCSH: Video games industry. -
BEFORE the PHILOSOPHY There Are Several Ways That We Might Explain the Location of the Matrix
ONE BEFORE THE 7 PHILOSOPHY UNDERSTANDING THE FILMS BEFORE THE PHILOSOPHY I’m really struggling here. I’m trying to keep up, but I’m losing the plot. There is way too much weird shit going on around here and nothing is going the way it is supposed to go. I mean, doors that go nowhere and everywhere, programs acting like humans, multiplying agents . Oh when, when will it end? – SparksE The Matrix films often left audiences more confused than they had bargained for. Some say that their confusion began with the very first film, and was compounded with each sequel. Others understood the big picture, but found themselves a bit perplexed concerning the details. It’s safe to say that no one understands the films completely – there are always deeper levels to consider. So before we explore the more philosophical aspects of the films, I hope to clarify some of the common points of confusion. But first, I strongly encourage you to watch all three films. There are spoilers ahead. The Matrix Dreamworld You mean this isn’t real? – Neo† The Matrix is essentially a computer-generated dreamworld. It is the illusion of a world that no longer exists – a world of human technology and culture as it was at the end of the twentieth century. This illusion is pumped into the brains of millions of people who, in reality, are lying fast asleep in slime-filled cocoons. To them this virtual world seems like real life. They go to work, watch their televisions, and pay their taxes, fully believing that they are physically doing these things, when in fact they are doing them “virtually” – within their own minds.