The Off-World Man Companion the Gordon
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1: for Me, It Was Personal Names with Too Many of the Letter "Q"
1: For me, it was personal names with too many of the letter "q", "z", or "x". With apostrophes. Big indicator of "call a rabbit a smeerp"; and generally, a given name turns up on page 1... 2: Large scale conspiracies over large time scales that remain secret and don't fall apart. (This is not *explicitly* limited to SF, but appears more often in branded-cyberpunk than one would hope for a subgenre borne out of Bruce Sterling being politically realistic in a zine.) Pretty much *any* form of large-scale space travel. Low earth orbit, not so much; but, human beings in tin cans going to other planets within the solar system is an expensive multi-year endevour that is unlikely to be done on a more regular basis than people went back and forth between Europe and the americas prior to steam ships. Forget about interstellar travel. Any variation on the old chestnut of "robots/ais can't be emotional/creative". On the one hand, this is realistic because human beings have a tendency for othering other races with beliefs and assumptions that don't hold up to any kind of scrutiny (see, for instance, the relatively common belief in pre-1850 US that black people literally couldn't feel pain). On the other hand, we're nowhere near AGI right now and it's already obvious to everyone with even limited experience that AI can be creative (nothing is more creative than a PRNG) and emotional (since emotions are the least complex and most mechanical part of human experience and thus are easy to simulate). -
Preview of The
GURPS SPACE A Generic Universal RolePlaying System Worldbook By Steve Jackson and William A. Barton Additional Material by W. G. Armintrout, Stephen Beeman, Ben Effinger, John M. Ford, Don Gallagher, J. David George, Mike Hurst, David Ladyman and Mike Moe Cover by Michael Goodwin Interior art by Robert Barger, Dan Carroll, Steve Crompton, Dave Deitrick, Michael Goodwin, C. Bradford Gorby, Wayne A. Lee, Denis Loubet, Carl Manz, Richard Mather, Kyle Miller, George Pratt, Eric Richards, Czeslaw Sornat, Jim Stanislaw, Michael Surbrook, John D. Waltrip and George "Speed" Webber Typography by C. Mara Lee, Monica Stephens and Melinda Spray GURPS System Design by Steve Jackson System Development by David Ladyman Playtesters Extraordinaire: John M. Ford, Stefan Jones, Walter Milliken, Greg Porter Playtesters: Catharine Altum, Norman Banduch, Vicki Barton, Bob Cahill, Bruce Coleman, Nick Christenson, Bruce Evans, Neal and Shawna Feldman, Doug Ferguson, Ben Kloepper, Steaven Krutsinger, Andy Liss, Cisco Lopez, Steve Noel, John Nowak, Charles Oines, John O'Reilly, Steffan O'Sullivan, Sam Patton, Lawrence W. Person, Randy Porter, David L. Pulver, David S. Raley, Ian Redditt, Perley J. Roberts, Craig Sheeley, Bob Simpson, Brett Slocum, Gus Smedstad, Christopher J. Stoddard, David Stokes, Alexander von Thorn. GURPS is a registered trademark of Steve Jackson Games Incorporated. GURPS Space is copyright © 1988 by Steve Jackson Games Incorporated. All rights reserved. Printed in the United States. INTRODUCTION 3 Communications Technology 27 Time Effects 28 FTL Side Effects 29 1. CREATING A UNIVERSE 4 Sensors 29 Recommended References 4 Weaponry 30 Campaign Type 4 Other Technology 30 Races 7 Teleportation 30 Writing History 7 Societies 8 Languages 8 3. -
149-Page PDF Version
By Bradford Hatcher © 2019 Bradford Hatcher ISBN: 978-0-9824191-8-2 Download at: https://www.hermetica.info/Intervention.html or: https://www.hermetica.info/Intervention.pdf Cover Photo Credit: Found online. Appears to be a conception of an evolved Terran reptilian life form. Table of Contents Part One 5 Preface 5 Puppet Shows 7 Waldo Speaking, Part 1 11 Waldo Speaking, Part 2 17 Wilma Speaks of Spirit 24 The Eck 30 Gizmos and the Van 34 Growing Up Van 42 Some Changes are Made 49 Culling Homo Non Grata 56 Introducing the Ta 63 Terrestrial and Aquatic Ta 67 Vestan, Myco, and Raptor Ta 72 Part Two 78 Progress Report at I+20 78 Desert Colonies 80 The Final Frontier, For Now 85 The Stellar Fleet 89 Remembering Community 94 Prototypes and Lexicons 99 For the Kids 104 Cultural Evolution 112 Cultural Engineering 119 Bioengineering 124 The Commons 128 The Tour 132 Mitakuye Oyasin 137 A Partial Glossary 147 Part One It gives one a feeling of confidence to see nature still busy with experiments, still dynamic, and not through nor satisfied because a Devonian fish managed to end as a two-legged character with a straw hat. There are other things brewing and growing in the oceanic vat. It pays to know this. It pays to know that there is just as much future as there is past. The only thing that doesn't pay is to be sure of man's own part in it. There are things down there still coming ashore. Never make the mistake of thinking life is now adjusted for eternity. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Strategic Master Plan Preview Museum
STRATEGIC MASTER PLAN PREVIEW MUSEUM MUSEUM OF SCIENCE FICTION Museum of Science Fiction: Strategic Master Plan Contact Any questions regarding this document should be directed to: Greg Viggiano Executive Director Museum of Science Fiction PO Box 88 Alexandria, VA 22313-0088 USA: EARTH: SOL: MILKY WAY [email protected] +1-703-629-4734 Museum of Science Fiction: Proprietary and Confidential 2 Museum of Science Fiction: Strategic Master Plan Document Change Control Date Version Author Change 01/09/2015 Draft .1 MG, RS Initial draft 01/16/2015 Draft .2 GRV. MS Formatting and updates 01/19/2015 Draft .3 JV, MS Updates GRV, JS, MS, 02/26/2015 Final 1.0 Final updates DB, HD Museum of Science Fiction: Proprietary and Confidential 3 Museum of Science Fiction: Strategic Master Plan Table of Contents BACKGROUND 5 MISSION 5 INTRODUCTION TO THE GENRE 5 What is science fiction 5 Why is science fiction important 6 Sub-Genres 6 Popular Media 7 Why is science fiction relevant 7 Why build a science fiction museum 7 STEM EDUCATION AND COMMUNITY INVOLVEMENT 8 Commitment to Education 8 PHASE 1: THE PREVIEW MUSEUM 8 Vision 8 Objectives 9 Target Audiences and Communities 9 Example Community 11 Overall Visitor Experience 11 Themes and Interpretive Threads Error! Bookmark not defined. Visitor Takeaways 12 Concept Exhibit Plan 12 ARCHITECTURE 17 Concept 17 Sociability 17 Program 19 Bubble Diagram 20 Floor Plan 20 Facade 20 Facade 21 Entry 21 APPENDICES 22 Appendix A: References Images 23 Museum of Science Fiction: Proprietary and Confidential 4 Museum of Science Fiction: Strategic Master Plan BACKGROUND The Museum of Science Fiction is a nonprofit organization, established in spring 2013. -
Animation 1 Animation
Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides. -
GURPS Classic Warriors
GURPS® By JOHN GOFF STEVE JACKSON GAMES WARRIORS Written by JOHN GOFF Edited by MONTEJON SMITH Illustrated by ANDI JONES, GLENN KRISTOFFERSEN, ED NORTHCOTT, SCOTT REEVES, and JASON WALTON Cover by ROGER CRUZ and ROGÉRIO VILELA T GURPS System Design STEVE JACKSON T Managing Editor ALAIN H. DAWSON T GURPS Line Editor SEAN PUNCH T Design and Production JACK ELMY T Production Assistance ALEX FERNANDEZ T Print Buying and Proofreading RUSSELL GODWIN T Art Direction LOREN WISEMAN T GURPS Errata Coordinator MICHAEL BOWMAN T Sales & Marketing Manager ROSS JEPSON Playtesting and Additional Material Chris Davies, Peter Dell’Orto, Shawn Fisher, Fabian J. Gentner, Bob Huss, J. Hunter Johnson, Phil Masters, Garrett Roberts, T. Carter Ross, Brian Smithson, William Stoddard, and Christopher Thrash. and our thanks to the dozens of great folk who helped out on the Pyramid playtest. GURPS and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. GURPS Warriors, Pyramid and Illuminati Online and the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. GURPS Warriors is copyright © 1999 by Steve Jackson Games Incorporated. All rights reserved. Some art copyright www.arttoday.com. ISBN 1-55634-393-0 1 2 3 4 5 6 7 8 9 10 STEVE JACKSON GAMES CONTENTS INTRODUCTION ....... 3 AVIATOR . 20 Tim Scott . 20 Using This Book . 3 Beso Pazova . 21 About the Author . 3 Nigel Davies . 22 About GURPS . 3 Jake McMasters . 23 BARBARIAN . 24 TEMPLATES ............ 4 John Smith . 24 Olaf Thulinsen TYPES OF TEMPLATES . -
Cine-Excess 13 Delegate Abstracts
Cine-Excess 13 Delegate Abstracts Alice Haylett Bryan From Inside to The Hills Have Eyes: French Horror Directors at Home and Abroad In an interview for the website The Digital Fix, French director Pascal Laugier notes the lack of interest in financing horror films in France. He states that after the international success of his second film Martyrs (2008) he received only one proposition from a French producer, but between 40 and 50 propositions from America: “Making a genre film in France is a kind of emotional roller-coaster” explains Laugier, “sometimes you feel very happy to be underground and trying to do something new and sometimes you feel totally desperate because you feel like you are fighting against everyone else.” This is a situation that many French horror directors have echoed. For all the talk of the new wave of French horror cinema, it is still very hard to find funding for genre films in the country, with the majority of French directors cutting their teeth using independent production companies in France, before moving over to helm mainstream, bigger-budget horrors and thrillers in the USA. This paper will provide a critical overview of the renewal in French horror cinema since the turn of the millennium with regard to this situation, tracing the national and international productions and co-productions of the cycle’s directors as they navigate the divide between indie horror and the mainstream. Drawing on a number of case studies including the success of Alexandre Aja, the infamous Hellraiser remake that never came into fruition, and the recent example of Coralie Fargeat’s Revenge, it will explore the narrative, stylistic and aesthetic choices of these directors across their French and American productions. -
Pseudoscience and Science Fiction Science and Fiction
Andrew May Pseudoscience and Science Fiction Science and Fiction Editorial Board Mark Alpert Philip Ball Gregory Benford Michael Brotherton Victor Callaghan Amnon H Eden Nick Kanas Geoffrey Landis Rudi Rucker Dirk Schulze-Makuch Ru€diger Vaas Ulrich Walter Stephen Webb Science and Fiction – A Springer Series This collection of entertaining and thought-provoking books will appeal equally to science buffs, scientists and science-fiction fans. It was born out of the recognition that scientific discovery and the creation of plausible fictional scenarios are often two sides of the same coin. Each relies on an understanding of the way the world works, coupled with the imaginative ability to invent new or alternative explanations—and even other worlds. Authored by practicing scientists as well as writers of hard science fiction, these books explore and exploit the borderlands between accepted science and its fictional counterpart. Uncovering mutual influences, promoting fruitful interaction, narrating and analyzing fictional scenarios, together they serve as a reaction vessel for inspired new ideas in science, technology, and beyond. Whether fiction, fact, or forever undecidable: the Springer Series “Science and Fiction” intends to go where no one has gone before! Its largely non-technical books take several different approaches. Journey with their authors as they • Indulge in science speculation—describing intriguing, plausible yet unproven ideas; • Exploit science fiction for educational purposes and as a means of promoting critical thinking; • Explore the interplay of science and science fiction—throughout the history of the genre and looking ahead; • Delve into related topics including, but not limited to: science as a creative process, the limits of science, interplay of literature and knowledge; • Tell fictional short stories built around well-defined scientific ideas, with a supplement summarizing the science underlying the plot. -
Film Culture in Transition
FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. -
Gravitational Propulsion by Help of Vacuum Holes
American Journal of Modern Physics 2015; 4(5): 254-260 Published online September 12, 2015 (http://www.sciencepublishinggroup.com/j/ajmp) doi: 10.11648/j.ajmp.20150405.15 ISSN: 2326-8867 (Print); ISSN: 2326-8891 (Online) Gravitational Propulsion by Help of Vacuum Holes Constantin Leshan Department of Nuclear Physics, T. Shevchenko National University of Kyiv, Octeabriscoe, Moldova Email address: [email protected] To cite this article: Constantin Leshan. Gravitational Propulsion by Help of Vacuum Holes. American Journal of Modern Physics . Vol. 4, No. 5, 2015, pp. 254-260. doi: 10.11648/j.ajmp.20150405.15 Abstract: A new concept, the gravitational propulsion, or "Hole Levitation", is proposed which propels vehicle by using the artificial gravity (vacuum holes). Such gravitational propulsion is similar to gravitational slingshot but without the need for large masses like planets and complicate maneuvers. The source of artificial gravitation accelerates the vehicle in one direction and the surrounding medium in the opposite direction. Therefore, it is not a reactionless drive: momentum is taken from the surrounding stars and planets and conferred on the vehicle and thus is conserved overall. The artificial gravity generator can damp or neutralize inertial forces due to the levitating vehicle is able to move with large acceleration, which is not acceptable for other means of transport. Keywords: Artificial Gravity, Vacuum Holes, Gravity Control, Levitation, Inertia Gravity assist maneuver can change the speed of a 1. Introduction spacecraft without expending propellant, but this method has Gravitational field propulsion is the concept of vehicle limits [2]. The main limit to the use of gravity assist propulsion where no propellant is necessary but instead maneuver is that large masses like planets and moons are momentum of the vehicle is changed by an interaction of the seldom in the right place to enable trip to destination. -
Return of Organization Exempt from Income Tax I ^Oi 2
OMB No 1545-0047 Return of Organization Exempt From Income Tax ^Oi 2 Form 990 I Under section 501(c), 527, or 4947 (a)(1) of the Internal Revenue Code (except black lung benefit trust or private foundation ) • • - • • Department of the Treasury Internal RevenueR Service ► The organization may have to use a copy of this return to satisfy state reporting requirements • • A For the 2012 calendar year or tax year be innin 311/2012 and ending 2/28/2013 B Check if applicable C Name of organization Anthro pomorphic Arts and Education Inc D Employer identification number q Doing Address change Business As Furcon and AAE , Inc. 77-0479860 q Name change Number and street (or P 0 box if mail is not delivered to street address) Room/suite E Telephone number F-1 Initial return 105 Serra Way (510) 209-5988 q Terminated City, town or post office, state, and ZIP code q Amended return Mil etas CA 95035 G Gross receipts $ 237 q F Name and officer Application pending address of principal I H(a) Is this a group return for affiliates? No ue , Sunn yvale , CA 94806 H(b) Are all affiliates included? q No I Tax-exe mpt status 501(c)(3) q 501(c) -4 (insert no ) q 4947(a)(1) or q 527 If "No," attach a list (see instructions) J Website : ► www.anthroarts orq 110. q q K Form of organization X Corporation Trust U Association U Other Do- L Year of formation 1998 M State of legal domicile CA Summa ry 1 Briefly describe the organization' s mission or most significant activities : Educational Convention and Charitable ------------------------- Donations to other persions and organizations of interest to Anthropomorphic Arts and -------------------------------------- °7 Education 2 ----------------------------------------------------------------------------------------------------------------------Check this box if the organization discontinued its operations or disposed of more than 25% of its net assets.