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Driverless cars are proficient at staying on the road in optimal conditions, and humanoid robots can usually (though not always) maintain a walking speed on the most level terrain. But take a robot car off-road, away from its highway dividers and preloaded laser maps and object recognition datasets, and it's as likely to drive into a lake as ferret out human resistance fighters. And humanoid bots could be outrun at a casual jog, or turned into a smoking ruin by a small branch or gentle incline. Even systems like Boston Dynamics' four-legged BigDog, which is incredibly stable in rough terrain, lack the ability to make sense of the environments they're bounding through, and take action that doesn't involve mobility. While armed aerial bots have been an established part of modern warfare for years, ground bots are, to put it very broadly, too dumb to pose a threat to anyone. But the mission of RobotsFor. e stands in stark contrast to the myth of robotic hypercompetence. Only in the movies are robots unerringly adept in unfamiliar environments. In reality systems like CARL (Crowdsourced Autonomy and Robot Learning), the wheeled, single-armed bot that WPI uses most often in its crowd sourced experiments, need all the training they can get. And while RobotsFor. e has been accessible by the public since 2013, the need for teaching couldn't be more obvious, now that we've seen how hard the some of DRC's bots have struggled to stay vertical, much less prove that they can stand in for human responders in disaster zones. Mechanical Turk and RobotsFor. e are effective in part because they provide a wealth of data. Chernova is exploring whether such crowd sourced input can give robots a baseline knowledge of the world, which might be supplemented by fast, intuitive training, to address differences in layout or occupants, or preferences in how you'd like tasks completed. RobotsFor. e might eventually help a robot differentiate between a spoon and a fork. But the user should be able to tell the robot which size of fork should go on the table, without learning how to write code.

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C. ahead of the signing. IHS Janes reports the agency has approved the local development of a 230 mm long-rocket as a protective measure against North Korea. Officials estimate the project to be completed by 2020. While 3D printers are an increasingly popular product, this new version is specifically designed to print metal in order to create key components for spacecraft. “ It’s challenging, metals are a different ball game, ” the University of Birmingham’s Dr Luke Carter told the Times. The device has been designed to run on a low wattage because in space “ there are quite strict power requirements. You don’t want that floating around. ” “ It starts to sound a bit sci-fi,” Carter said. “ We are targeting long-term space missions. When we went to the moon in the 60s and 70s we could take everything we needed. If you are going to Mars, it is an 18-month journey. ” He pointed out that on such a long trip something relatively minor could ruin an entire mission. “ You get to the point where you are floating around in the pod, someone opens a cupboard and the hinge snaps. Then you have it flapping around the whole journey, ” he said. Carter said there was huge interest in the idea of 3D printing in space. “ Imagine how many components you would have to bring otherwise.

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Everything Filmy. Everything Me. Film The Madman The Code Of Zaw inbloguous Warning: May cause acute insomnia, eye fatigue, and a severely disfigured sense of humor. Crooked angles, zither music, a spectacular chase through the Vienna underground and one of the most famous endings in cinema. 'The Silence of the Lambs' (1991) Decades later, we're still having nightmares about the most captivating villain in movie history. This isn't just your average horror movie or forensic thriller. It's an artfully twisted tale of identity, complex human relationships, and psychological warfare. 'Jaws' (1975) 40 years later, the first modern blockbuster still has convinced it is NEVER safe to go back into the water. 7. 'Black Panther' (2018) To date, Black Panther is the most successful MCU movie at the doemstic box office, and it's not hard to see why. This film became a cultural phenomenon by introducing moviegoers everywhere to the fantastical land of Wakanda. It also boasts one of the best villains and strongest supporting casts of any MCU movie, to the point where the titular hero sometimes gets outshone in his own film. 'Thor: Ragnarok' (2017) Director Taika Waititi made the third Thor film one of the funniest, most off-the-wall Marvel movies ever. AVENGERS: INFINITY WAR (2018) Every Avenger (well, except Captain Marvel), takes on Thanos in the first part of this devastating showdown. Ralph Fiennes and John Turturro star. 'The Constant Gardener' (2005) Rachel Weisz won an Oscar for her role as a woman who investigates a criminal cover-up. Ralph Fiennes is also Oscar-worthy in this first-rate drama.

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begins to resemble a form of mastery over the people” in the film, I want to qualify this as well. For me, the effect of the cameras is not to exert mastery, but rather to eliminate any form of mastery, to make it impossible and unthinkable. Rather than being an intrusion of Big Brother, this new form of data collection is actualized by “the millions of cameras and recorders in the hands of millions of Little Brothers and Little Sisters. Cascio holds out a certain degree of utopian hope for this process: it has the potential to make data freely available to anyone, instead of its being monopolized by big corporations and the state security apparatus. And I must say that I vastly prefer Cascio’s take to that of, say, Baudrillard, who obsessively denounced the “obscenity” and lack of privacy and secrecy in “postmodern” society. Baudrillard always comes across to me as the last of the old-style European intellectuals, horrified by the “vulgarity” of American popular culture. However, I think that the Paranormal Activity films offer us something quite different: a sense of horror that is proper to the world of sousveillance, a world that is infinitely “flat” (Thomas Friedman), and that is best characterized by a “flat ontology” (Manuel Delanda). I also like his use of the term sousveillance, which certainly has a more optimistic premise than Baudrillard’s or even Foucault’s, in a sense. But that makes me wonder why I do feel the footage is somehow ominous, as if the camera stands for a sinister observer or viewer. This might come from my (over)familiarity with conventional horror movie cinematography, which we could term “stalker-cam” or “voyeur-cam,” in which we see the characters from behind a tree or through the window, implying a hidden or distant secret observer who, in a horror movie, has malicious intent. Seeing the characters from a particular POV that we cannot attribute is disconcerting. Specifically, security cameras are ideally supposed to make us feel safer, yet these constant tape loops make us and the characters more anxious by revealing what Katie can never see firsthand: herself sleeping and what goes on while she sleeps. Not only does the camera have that “outside” view of the sleeping person, but so does the demon—the sleeper can never see herself from outside, yet the demon can inhabit her and then look out from inside her body, her consciousness. Just as the demon demands payment of an ancestor’s contract, the predatory mortgage allows an outsider to take away the very home and hearth (as generic and characterless as it is). Therese suggested the term “undulating,” and I think it fits here: the digitization, mobility, and decentering of financial systems and instruments make them harder to fight or resist. When we see evidence of the demon on Katie’s body it takes the form of bite marks in a bruised, lacerated circle—it looks to me like a lamprey bite might look if lampreys bit humans. The lamprey is a sea creature who feeds by sucking on other fish, just as the demon depends on Katie’s body to give it form, and, well, I don’t have to explain the obvious metaphor with the mortgage industry or even finance capital more generally.

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