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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, -
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. -
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. -
The Making of Enter the Matrix
TWO MOVIES. ONE “THEN ALONG COMES THE WACHOWSKIS AND ANIMATED ANTHOLOGY. THEY WANT TO SHOOT AND THE MOST EXPENSIVE AN HOUR OF MATRIX LICENSED VIDEOGAME QUALITY MOVIE FOOTAGE FOR OUR EVER MADE. SEVENTEEN GAME – AND WRITE YEARS AFTER ITS ORIGINAL THE ENTIRE STORY” RELEASE, WE EXPLORE DAVID PERRY HOW ENTER THE MATRIX TRIED TO DEFY TRADITIONAL VIDEOGAME STORYTELLING BY SLOTTING INTO A WIDER TRANSMEDIA EXPERIENCE Words by Aaron THE MAKING OF Potter ames based on a licence have been around almost as long as the medium itself, with most gaining a reputation for being cheap tie-ins or ill-produced cash grabs that needed much longer in the development oven. It’s an unfortunate fact that, in most instances, the creative teams tasked with » Shiny Entertainment founder and making a fun, interactive version of a beloved working on a really cutting-edge 3D game called former game director David Perry. Hollywood IP weren’t given the time necessary to Sacrifice, so I very embarrassingly passed on the IN THE succeed – to the extent that the ET game from 1982 project.” David chalks this up as being high on his for the Atari 2600 was famously rushed out by a “list of terrible career decisions”, though it wouldn’t KNOW single person and helped cause the US industry crash. be long before he and his team would be given a PUBLISHER: ATARI After every crash, however, comes a full system second chance. They could even use this pioneering DEVELOPER : reboot. And it was during the world’s reboot at the tech to translate the Wachowskis’ sprawling SHINY turn of the millennium, around the time a particular universe more accurately into a videogame. -
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. -
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. -
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. -
Bullet Time As Microgenre Author(S): Bob Rehak Source: Film Criticism, Vol
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Works The Migration of Forms: Bullet Time as Microgenre Author(s): Bob Rehak Source: Film Criticism, Vol. 32, No. 1, Special Issue on Digital Visual Effects and Popular Cinema (Fall, 2007), pp. 26-48 Published by: Allegheny College Stable URL: https://www.jstor.org/stable/24777382 Accessed: 08-05-2019 16:36 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Allegheny College is collaborating with JSTOR to digitize, preserve and extend access to Film Criticism This content downloaded from 130.58.107.157 on Wed, 08 May 2019 16:36:11 UTC All use subject to https://about.jstor.org/terms The Migration of Forms: Bullet Time as Microgenre Bob Rehak Only minutes into The Matrix (Lany and Andy Wachowski, 1999), the movie unveils its money shot, as though aware the audience is impatient for it. Trinity (Carrie-Anne Moss), clad in skintight black leather, punctuates a brief, violent hotel room fight by spreading her arms, rising into the air, and lashing out in a kick that sends one of her policeman attackers flying. She moves with an impossible fluid weightlessness, as does the camera, which revolves around her while the hapless cops remain frozen. -
The Matrix Trilogy's Postmodern Movie Messiah
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 7 October 2005 He is the One: The Matrix Trilogy's Postmodern Movie Messiah Mark D. Stucky [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stucky, Mark D. (2005) "He is the One: The Matrix Trilogy's Postmodern Movie Messiah," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/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]. He is the One: The Matrix Trilogy's Postmodern Movie Messiah Abstract Many films have used Christ figures to enrich their stories. In The Matrix trilogy, however, the Christ figure motif goes beyond superficial plot enhancements and forms the fundamental core of the three-part story. Neo's messianic growth (in self-awareness and power) and his eventual bringing of peace and salvation to humanity form the essential plot of the trilogy. Without the messianic imagery, there could still be a story about the human struggle in the Matrix, of course, but it would be a radically different story than that presented on the screen. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 Stucky: He is the One Introduction The Matrix1 was a firepower-fueled film that spin-kicked filmmaking and popular culture. -
Breaking the Code of the Matrix; Or, Hacking Hollywood
Matrix.mss-1 September 1, 2002 “Breaking the Code of The Matrix ; or, Hacking Hollywood to Liberate Film” William B. Warner© Amusing Ourselves to Death The human body is recumbent, eyes are shut, arms and legs are extended and limp, and this body is attached to an intricate technological apparatus. This image regularly recurs in the Wachowski brother’s 1999 film The Matrix : as when we see humanity arrayed in the numberless “pods” of the power plant; as when we see Neo’s muscles being rebuilt in the infirmary; when the crew members of the Nebuchadnezzar go into their chairs to receive the shunt that allows them to enter the Construct or the Matrix. At the film’s end, Neo’s success is marked by the moment when he awakens from his recumbent posture to kiss Trinity back. The recurrence of the image of the recumbent body gives it iconic force. But what does it mean? Within this film, the passivity of the recumbent body is a consequence of network architecture: in order to jack humans into the Matrix, the “neural interactive simulation” built by the machines to resemble the “world at the end of the 20 th century”, the dross of the human body is left elsewhere, suspended in the cells of the vast power plant constructed by the machines, or back on the rebel hovercraft, the Nebuchadnezzar. The crude cable line inserted into the brains of the human enables the machines to realize the dream of “total cinema”—a 3-D reality utterly absorbing to those receiving the Matrix data feed.[footnote re Barzin] The difference between these recumbent bodies and the film viewers who sit in darkened theaters to enjoy The Matrix is one of degree; these bodies may be a figure for viewers subject to the all absorbing 24/7 entertainment system being dreamed by the media moguls.