1560024928812.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
GURPS4E Ultra-Tech.Qxp
Written by DAVID PULVER, with KENNETH PETERS Additional Material by WILLIAM BARTON, LOYD BLANKENSHIP, and STEVE JACKSON Edited by CHRISTOPHER AYLOTT, STEVE JACKSON, SEAN PUNCH, WIL UPCHURCH, and NIKOLA VRTIS Cover Art by SIMON LISSAMAN, DREW MORROW, BOB STEVLIC, and JOHN ZELEZNIK Illustrated by JESSE DEGRAFF, IGOR FIORENTINI, SIMON LISSAMAN, DREW MORROW, E. JON NETHERLAND, AARON PANAGOS, CHRISTOPHER SHY, BOB STEVLIC, and JOHN ZELEZNIK Stock # 31-0104 Version 1.0 – May 22, 2007 STEVE JACKSON GAMES CONTENTS INTRODUCTION . 4 Adjusting for SM . 16 PERSONAL GEAR AND About the Authors . 4 EQUIPMENT STATISTICS . 16 CONSUMER GOODS . 38 About GURPS . 4 Personal Items . 38 2. CORE TECHNOLOGIES . 18 Clothing . 38 1. ULTRA-TECHNOLOGY . 5 POWER . 18 Entertainment . 40 AGES OF TECHNOLOGY . 6 Power Cells. 18 Recreation and TL9 – The Microtech Age . 6 Generators . 20 Personal Robots. 41 TL10 – The Robotic Age . 6 Energy Collection . 20 TL11 – The Age of Beamed and 3. COMMUNICATIONS, SENSORS, Exotic Matter . 7 Broadcast Power . 21 AND MEDIA . 42 TL12 – The Age of Miracles . 7 Civilization and Power . 21 COMMUNICATION AND INTERFACE . 42 Even Higher TLs. 7 COMPUTERS . 21 Communicators. 43 TECH LEVEL . 8 Hardware . 21 Encryption . 46 Technological Progression . 8 AI: Hardware or Software? . 23 Receive-Only or TECHNOLOGY PATHS . 8 Software . 24 Transmit-Only Comms. 46 Conservative Hard SF. 9 Using a HUD . 24 Translators . 47 Radical Hard SF . 9 Ubiquitous Computing . 25 Neural Interfaces. 48 CyberPunk . 9 ROBOTS AND TOTAL CYBORGS . 26 Networks . 49 Nanotech Revolution . 9 Digital Intelligences. 26 Mail and Freight . 50 Unlimited Technology. 9 Drones . 26 MEDIA AND EDUCATION . 51 Emergent Superscience . -
Exploring the Referral and Usage of Science Fiction in HCI Literature
Exploring the Referral and Usage of Science-Fiction in HCI Literature? Philipp Jordan1, Omar Mubin2, Mohammad Obaid3, and Paula Alexandra Silva4 1 University of Hawaii at Manoa, Honolulu, USA [email protected] 2 SCEM, Western Sydney University, Sydney, Australia [email protected] 3 Uppsala University, Uppsala, Sweden [email protected] 4 DigiMedia Research Center, University of Aveiro, Aveiro, Portugal [email protected] Abstract. Research on science fiction (sci-fi) in scientific publications has indicated the usage of sci-fi stories, movies or shows to inspire novel Human-Computer Interaction (HCI) research. Yet no studies have anal- ysed sci-fi in a top-ranked computer science conference at present. For that reason, we examine the CHI main track for the presence and nature of sci-fi referrals in relationship to HCI research. We search for six sci-fi terms in a dataset of 5812 CHI main proceedings and code the context of 175 sci-fi referrals in 83 papers indexed in the CHI main track. In our results, we categorize these papers into five contemporary HCI research themes wherein sci-fi and HCI interconnect: 1) Theoretical Design Re- search; 2) New Interactions; 3) Human-Body Modification or Extension; 4) Human-Robot Interaction and Artificial Intelligence; and 5) Visions of Computing and HCI. In conclusion, we discuss results and implications located in the promising arena of sci-fi and HCI research. Keywords: Design fiction, Future visions, HCI inspiraton, Popular cul- ture in science, Science fiction 1 Introduction Sci-fi has inspired many technological innovations. Its influence is present in the invention, conceptualization, design and application of interfaces and technology. -
Tolva Lorebook 050417 Singlep
This is a book about the wider fictional context in which our video game, The Signal From Tölva, can be understood. You do not need to read this book to enjoy the game, and reading on should not spoil the game for you. Instead we intend to provide an inspiring and colourful backdrop, and to shine another light on the mysterious events that take place in the world in which the game is set. Events on Tölva represent one crucial step within a larger story which encompasses the ambitions and machinations of factional machine intelligences across an entire galaxy. The fate of the human race also hangs in the balance in this hostile and complicated universe (even though humans don’t appear in The Signal From Tölva video game, they do play a role in the wider story). Tölva, you should remember, is but a single point in endless space. What happens there will have implications for an entire galaxy, but it is nevertheless only one node in a network of conflict and complexity that makes up a strange and violent universe. Read on to learn more about the ideas, technologies, worlds and personalities that make that universe what it is. introduction 03 THE GRIM PROLOGUE This is a tragedy of the remote future. It is a story about the relationship between the people the human race became and the intelligent machines they created to explore the galaxy. The setting of Magnitudes is far distant from today, and is a time when spacefaring and planetary exploration are routine. Extreme high technology and exotic events are commonplace, but these things are not often at the disposal of normal men and women. -
Graad 12 National Senior Certificate Grade 12
English Home Language/P1 2 DBE/November 2014 NSC INSTRUCTIONS AND INFORMATION 1. This question paper consists of THREE sections: GRAAD 12 SECTION A: Comprehension (30) SECTION B: Summary (10) SECTION C: Language Structures and Conventions (30) 2. Answer ALL the questions. 3. Start EACH section on a NEW page. NATIONAL SENIOR CERTIFICATE 4. Rule off after each section. 5. Number the answers correctly according to the numbering system used in this question paper. 6. Leave a line after EACH answer. GRADE 12 7. Pay special attention to spelling and sentence construction. 8. Suggested time allocation: ENGLISH HOME LANGUAGE P1 SECTION A: 50 minutes SECTION B: 30 minutes SECTION C: 40 minutes NOVEMBER 2014 9. Write neatly and legibly. MARKS: 70 TIME: 2 hours This question paper consists of 13 pages. Copyright reserved Please turn over Copyright reserved Please turn over English Home Language/P1 3 DBE/November 2014 English Home Language/P1 4 DBE/November 2014 NSC NSC SECTION A: COMPREHENSION 5 One of the most significant innovations in the last decade has been Europe's carbon-emission trading scheme: some 12 000 companies, responsible for 35 QUESTION 1: READING FOR MEANING AND UNDERSTANDING more than half of the European Union's emissions, have been assigned quotas. Companies with unused allowances can then sell them; the higher the Read TEXTS A AND B below and answer the set questions. price, the greater the incentive for firms to cut their use of fossil fuels. The system seemed to work for about a year – but now it turns out that Europe's TEXT A governments allocated far too many credits, which will likely hinder the 40 programme's effectiveness for years. -
SF COMMENTARY 81 40Th Anniversary Edition, Part 2
SF COMMENTARY 81 40th Anniversary Edition, Part 2 June 2011 IN THIS ISSUE: THE COLIN STEELE SPECIAL COLIN STEELE REVIEWS THE FIELD OTHER CONTRIBUTORS: DITMAR (DICK JENSSEN) THE EDITOR PAUL ANDERSON LENNY BAILES DOUG BARBOUR WM BREIDING DAMIEN BRODERICK NED BROOKS HARRY BUERKETT STEPHEN CAMPBELL CY CHAUVIN BRAD FOSTER LEIGH EDMONDS TERRY GREEN JEFF HAMILL STEVE JEFFERY JERRY KAUFMAN PETER KERANS DAVID LAKE PATRICK MCGUIRE MURRAY MOORE JOSEPH NICHOLAS LLOYD PENNEY YVONNE ROUSSEAU GUY SALVIDGE STEVE SNEYD SUE THOMASON GEORGE ZEBROWSKI and many others SF COMMENTARY 81 40th Anniversary Edition, Part 2 CONTENTS 3 THIS ISSUE’S COVER 66 PINLIGHTERS Binary exploration Ditmar (Dick Jenssen) Stephen Campbell Damien Broderick 5 EDITORIAL Leigh Edmonds I must be talking to my friends Patrick McGuire The Editor Peter Kerans Jerry Kaufman 7 THE COLIN STEELE EDITION Jeff Hamill Harry Buerkett Yvonne Rousseau 7 IN HONOUR OF SIR TERRY Steve Jeffery PRATCHETT Steve Sneyd Lloyd Penney 7 Terry Pratchett: A (disc) world of Cy Chauvin collecting Lenny Bailes Colin Steele Guy Salvidge Terry Green 12 Sir Terry at the Sydney Opera House, Brad Foster 2011 Sue Thomason Colin Steele Paul Anderson Wm Breiding 13 Colin Steele reviews some recent Doug Barbour Pratchett publications George Zebrowski Joseph Nicholas David Lake 16 THE FIELD Ned Brooks Colin Steele Murray Moore Includes: 16 Reference and non-fiction 81 Terry Green reviews A Scanner Darkly 21 Science fiction 40 Horror, dark fantasy, and gothic 51 Fantasy 60 Ghost stories 63 Alternative history 2 SF COMMENTARY No. 81, June 2011, 88 pages, is edited and published by Bruce Gillespie, 5 Howard Street, Greensborough VIC 3088, Australia. -
Dramatis Pupae: the Special Agency of Puppet Performances
University of New Mexico UNM Digital Repository Theatre & Dance ETDs Electronic Theses and Dissertations 7-8-2009 Dramatis Pupae: The pS ecial Agency of Puppet Performances Casey Mráz Follow this and additional works at: https://digitalrepository.unm.edu/thea_etds Recommended Citation Mráz, Casey. "Dramatis Pupae: The peS cial Agency of Puppet Performances." (2009). https://digitalrepository.unm.edu/thea_etds/ 35 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Theatre & Dance ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. DRAMATIS PUPAE: THE SPECIAL AGENCY OF PUPPET PERFORMANCES BY CASEY MRÁZ B.U.S., University Studies, University of New Mexico, 2004 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Dramatic Writing The University of New Mexico Albuquerque, New Mexico April 2009 DRAMATIS PUPAE: THE SPECIAL AGENCY OF PUPPET PERFORMANCES BY CASEY MRÁZ ABSTRACT OF DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Dramatic Writing The University of New Mexico Albuquerque, New Mexico April 2009 Dramatis Pupae: The Special Agency of Puppet Performances By Casey Mráz B.U.S., University Studies, University of New Mexico, 2004 M.F.A., Dramatic Writing, University of New Mexico, 2009 ABSTRACT Puppets have been used in performance by many cultures for thousands of years. Their roles in performance are constantly changing and evolving. Throughout the twentieth century there has been much contention between performance theorists over what defines a puppet. -
Temporal Distances: Fudging It 4
ADVENTURES IN SPACE Space Travel Space: A Brief Introduction 1 Drive vs Thrust: How Much Faster? 2 Absolute Distances: The Hard Way 4 Temporal Distances: Fudging It 4 Velocity: How Fast Am I? 5 Absolute Velocity 5 Temporal Velocity: Easier/Less Accurate 6 Temporal Velocity: Accurate/Trickier 6 Engine Strain 7 How Big is a Star System? 8 How Big is a Galaxy? 9 Interstellar Travel: Workarounds 10 Shortcuts 10 Jaunting 10 Winging It 10 Hoofing It 10 Drive Limits 11 Ready-to-Play Drive Limits 11 Fuel Capacity 11 Fuel Rarity 12 Imprecise 12 Interstellar Only 12 Minimum Size 12 Non-Orbital 12 Specialized 12 Traceable 12 Uncomfortable 13 Volatile 13 Variable Drive Technology 13 ADVENTURES IN SPACE Space Travel Space: A Brief Introduction Throughout this first section, one does well to remember the sage advice of The Hitchhiker’s Guide to the Galaxy: “Space is big. Really big. You just won't believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it's a long way down the road to the chemist, but that's just peanuts to space.” As you might expect, figuring out a reasonable way to cope with the immensity of a solar system, a sector, a galaxy or an entire universe is a serious undertaking that a GM building his own setting needs to confront early on. There are a couple ways to do it, each with their own advantages and disadvantages, and each suited for a different kind of narrative. What these methods have in common is that they make use of two of a spacecraft's Systems: Thrust and Drive. -
The Blackness of Liet-Kynes: Reading Frank Herbert's Dune Through
religions Article The Blackness of Liet-Kynes: Reading Frank Herbert’s Dune Through James Cone Peter Herman Theology & Religious Studies, Marymount University, Arlington, VA 22207, USA; [email protected] Received: 1 August 2018; Accepted: 17 September 2018; Published: 18 September 2018 Abstract: Frank Herbert’s landmark science fiction novel Dune has received numerous sequels, prequels, and film treatments. Detailing the saga of humanity’s far future beyond our present solar system, the work plays successfully with religious, political, and ecological themes. This essay deals with the social/theological implications of two figures within the story-world of Dune: Its protagonist and visible hero, Paul Atreides/Muad’Dib and the lesser figure of the “Imperial Planetologist” Dr. Kynes, also known to the Fremen as “Liet”. By reading these two figures through the theology of James Cone, we discover that the obvious hero is not a messianic figure but a demonic one. Further, it is the lesser character of Liet-Kynes who actually fulfills the messianic role in Cone’s theological system. This essay is preceded by and makes use of Jeremy Ian Kirk’s work with the film Avatar that provides similar analysis. Where Kirk’s principal concern is with the ethical considerations of Avatar, this essay will more closely bear on Cone’s dynamic of redemption and conversion, specifically his notion of dying to white identity to be reborn in blackness. Keywords: theology; whiteness; black liberation; liberation theology; soteriology; salvation 1. Introduction Frank Herbert’s six Dune novels provide an amazing and detailed view of a possible future for the human race among the stars.1 The world-building in which he engaged spans thousands of years and billions of miles in his speculative future version of our known universe.2 Religion, specifically the often cynical manipulations of the Bene Geserit Sisterhood, plays a role in the narrative. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM
GuitarPlayer: The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM | Sign-In | GO HOME NEWS ARTISTS LESSONS GEAR VIDEO COMMUNITY SUBSCRIBE The 50 Greatest Rhythm Guitarists Darrin Fox Tweet 1 Share Like 21 print ShareThis rss It’s pretty simple really: Whatever style of music you play— if your rhythm stinks, you stink. And deserving or not, guitarists have a reputation for having less-than-perfect time. But it’s not as if perfect meter makes you a perfect rhythm player. There’s something else. Something elusive. A swing, a feel, or a groove—you know it when you hear it, or feel it. Each player on this list has “it,” regardless of genre, and if there’s one lesson all of these players espouse it’s never take rhythm for granted. Ever. Deciding who made the list was not easy, however. In fact, at times it seemed downright impossible. What was eventually agreed upon was Hey Jazz Guy, October that the players included had to have a visceral impact on the music via 2011 their rhythm chops. Good riffs alone weren’t enough. An artist’s influence The Bluesy Beauty of Bent was also factored in, as many players on this list single-handedly Unisons changed the course of music with their guitar and a groove. As this list David Grissom’s Badass proves, rhythm guitar encompasses a multitude of musical disciplines. Bends There isn’t one “right” way to play rhythm, but there is one truism: If it feels good, it is good. The Fabulous Fretwork of Jon Herington David Grissom’s Awesome Open Strings Chuck Berry I don"t believe it A little trick for guitar chords on mandolin MERRY, MERRY Steve Howe is having a Chuck Berry changed the rhythmic landscape of popular music forever. -
M´Elange: Space Folding for Multi-Focus Interaction
Melange:´ Space Folding for Multi-Focus Interaction Niklas Elmqvist1 Nathalie Henry1,2,3 Yann Riche1,2,4 Jean-Daniel Fekete1 {elm, nhenry, yann, fekete}@lri.fr 1INRIA 2LRI, Univ. Paris-Sud 3University of Sydney 4University of Queensland Saclay, France Orsay, France Sydney, Australia Brisbane, Australia (a) (b) Figure 1. Examples of the Melange´ technique: (a) Browsing flight routes on a world map. (b) Displaying a large matrix visualization of a network. ABSTRACT INTRODUCTION Interaction and navigation in large geometric spaces typi- Current visualization applications often involve navigation cally require a sequence of pan and zoom actions. This strat- in large visual spaces — many times the size of the screen egy is often ineffective and cumbersome, especially when — using a sequence of zoom and pan operations. The tasks trying to study several distant objects. We propose a new that are performed on these spaces typically require multi- distortion technique that folds the intervening space to guar- ple objects to be displayed at sufficient scale for precise ma- antee visibility of multiple focus regions. The folds them- nipulation, yet these objects may be separated by long dis- selves show contextual information and support unfolding tances. Zooming and panning is tedious, potentially disori- and paging interactions. Compared to previous work, our enting, and often ineffective [6, 7]. In order to retain view of method provides more context and distance awareness. We multiple objects, the standard practice is to split the screen conducted a study comparing the space-folding technique to into several subwindows, but this means that the context be- existing approaches, and found that participants performed tween the objects is lost.