Personally, I thought she was unelectable but, you know. I think if you dig into her history on non conservative sites, you'll find the same things. She is more of a cooperative than authoritarian leader but has the strength to make decisions and stick by them. This would destroy most people.Ģ) The clinton foundation is very well run, has a much higher share of money that goes to help people than the american cancer society, has reasonable wages for its employees, and is highly rated by charity navigator.ģ) Clinton's actions show she is willing to put the good of the party and the country ahead of her personal good.Ĥ) Clinton's a patriot and even a bit of a nationalist.ĥ) Clinton's wonky, intelligent, and creative and open to feedback from staff. I had to research her a lot this year andġ) Cinton's been the target of a propaganda war for close to 20 years. I think Clinton is typically flawed for washington senators, representatives and similarly powerful bureacratic positions.
#The talos principle whoosh code
According to Musk, it's the most popular topic of conversation right now.Earlier this year, at Code Conference, Elon Musk said there's "one in billions" chance we're not living in a computer simulation.
Business Insider adds: The piece doesn't give any clue as to who those two billionaires are - although it's easy to hazard a few guesses at who they might be, like Musk himself or Altman's friend Peter Thiel - but it's fascinating to see how seriously people are taking this theory.
From an article on The New Yorker: Many people in Silicon Valley have become obsessed with the simulation hypothesis, the argument that what we experience as reality is in fact fabricated in a computer two tech billionaires have gone so far as to secretly engage scientists to work on breaking us out of the simulation. In the story, Altman discusses his theories about being controlled by technology and delves into the simulation theory. The New Yorker recently did a profile about Y Combinator's Sam Altman. But it takes a billionaire and his money to ask scientists to help break us out of the simulation. The chapter closes with a brief homage to Eisenstein’s famous montage in Battleship Potemkin, in which three marble statues of lions become one animated lion.Many believe that we live in a computer simulation. A complex metamorphosis, from human to robot, occurs in Fritz Lang’s silent classic Metropolis, while the metamorphosis of a young ballerina in Black Swan may well be the most realistic change of the human body in the CGI era. Now computer-generated images (CGI) add a whole new dimension of verisimilitude to what is physically impossible. The latter has extensively shown complex metamorphoses through editing and camera tricks since the days of silent films and in animated films. Visible essences and underlying characteristics of bodily metamorphoses are as important for Ovid’s epic as they are for the cinema. This chapter connects elements from Ovid’s myths to a variety of related film forms and genres. Related to these are the Hephaestus and Daedalus Effects, in which statues acquire movement. Ovid’s versions of the myths of the sculptor Pygmalion, whose ivory statue, later named Galatea, comes to life, and, conversely, the petrifying gaze of the Gorgon Medusa initiated two important developments in modern visual arts: the Pygmalion Effect and the Medusa Effect.
Chapter 5 examines another crucial moment in screen history, when film pioneer Georges Méliès accidentally discovered how bodies and objects could be changed into something completely different on the screen. Chapters 5–6 deal with some of the chief aspects of Ovidian and cinematic metamorphoses.
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