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Elliot Page on Juno, Hollywood’s dark side and coming out twice
Sat, 10 Jun 2023 06:00:14 GMT
When the feelgood movie made him an Oscar-nominated star, the strain of hiding who he was almost forced him to quit acting. He explains how opening up about being gay, then trans, saved his life
Elliot Page’s memoir is called Pageboy. At its heart is the story of his transitioning from an Oscar-nominated actress, best known for the wonderful coming-of-age comedy drama Juno, to one of the world’s most high profile trans men. He writes, rather beautifully, about gender dysphoria, top surgery and finally finding himself. But the book is so much more than a tale of transition.
Pageboy is a modern-day Hollywood Babylon, written by a sensitive soul rather than a scandalmonger. Page depicts a film industry even more rancid than we may have suspected. This is a world where it’s not only the Harvey Weinsteins at the top of the pyramid who get to abuse the young and powerless – just about everybody seems to have a go. It’s a world where most people appear to be closeted in one way or another, a world where more acting is done off set than on.Continue reading...
Lust, cruelty and a desperate need for attention ... I thought my old journals would bring back warm memories – in reality they were a document of the unique misery and painful insecurities of adolescence
I own nine of the most devastatingly embarrassing books ever written. They might be the only books that attempt to algebraically prove the existence of God 14 pages after the words, “I don’t want to touch his penis.” Actually, that’s probably not true – the books are my teenage diaries, and there’s nothing unique about the humiliating and exhilarating experience of being a 14-year-old girl.
If there’s one thing in the world I never want to be again and wish I never had to be in the first place, it’s a teenage swot with PE in the morning. When I ask female friends if they think being a teen was uniquely awful, one replies “uniquely awful and uniquely special” – but I don’t think that is something I ever felt. I love to see the magic of girlhood represented in coming-of-age movies such as Lady Bird and Booksmart, but I look back at my own adolescent self and see a floundering fish who hurt and was hurt with little meaning or beauty.Continue reading...
No one wants to see the cast naked any more, so this TV follow-up shuns stripping for comic capers and cost-of-living tragedy. Even better, it actually gives plotlines to the female characters
Television shows that remake films tend to be exercises in pointless nostalgia. Do you remember the movies Fatal Attraction, Dangerous Liaisons and American Gigolo? Yes. Would you like to watch a weird cosplay version of them that goes on for 10 hours and confusingly reshuffles the plot? Um, not really. The Full Monty (from 14 June, Disney+) is the latest entrant in an already tired genre, but it has one up on most of the competition: all the core cast are in that sweet spot where they’re successful enough to be worth rehiring but not so famous they’ve turned the reboot down. That means there’s no need to rejig the story of redundant Sheffield steelworkers who, in 1997, found solace in hard times by forming a Chippendales-style male striptease troupe. We simply return to Sheffield 26 years later, to find the same characters, played by the same actors, living the same lives.
The film had it easy, plot-wise, in that it built towards that heartwarming climactic moment when a sextet of men showed the local community their penises. Those six appendages were the pegs on which were hung serious subtexts about the misery of life in a Thatcher-ravaged, deindustrialised northern England. A quarter of a century on, however, the prospect of the old boys windmilling their hosepipes in housewives’ faces would horrify everyone. So the new Full Monty is fully clothes-on.Continue reading...
Animation has come a long way since 1900, when J. Stuart Blackton created The Enchanted Drawing, the earliest known animated film. The 90-second movie was created using stop-motion techniques, as flat characters, props, and backgrounds were drawn on an easel or made from paper.
Most modern animators rely on computer graphics and visualization techniques to create popular movies and TV shows like Finding Dory, Toy Story, and Paw Patrol. In the 1960s and ’70s, computer science pioneers David Evans and IEEE Life Member Ivan E. Sutherland led the development of many of the technologies animators now use. Their groundbreaking research, conducted at the University of Utah, in Salt Lake City, and at their company, Evans and Sutherland, helped jump-start the computer graphics industry.
A ceremony was held at the university on 24 March to recognize the computer graphics and visualization techniques with an IEEE Milestone. The IEEE Utah Section sponsored the nomination.
Computer graphics began in the 1950s with interactive games and visualization tools designed by the U.S. military to develop technologies for aviation, radar, and rocketry.
Evans and Sutherland, then computer science professors at the University of Utah, wanted to expand on the use of such tools by finding a way for computers to simulate objects and environments. In 1968 they founded Evans and Sutherland, locating the E&S headquarters in the university’s research park.
Many of today’s computer graphics luminaries—including Pixar cofounder Edwin Catmull, Adobe cofounder John Warnock, and Netscape founder Jim Clark, who also founded Silicon Graphics—got their start in the industry as E&S employees or as doctoral students working on research at the company’s facilities.
IEEE Milestone Dedication: Utah Computer Graphics youtu.be
While at E&S, the employees and students made fundamental contributions to computer graphics processes, says IEEE Fellow Christopher Johnson, a University of Utah computer science professor.
“David Evans, Ivan Sutherland, and their students and colleagues helped change the world,” Johnson says.
“The period from 1968 through 1978 was an extraordinary time for computer graphics,” adds Brian Berg, IEEE Region 6 history chair. “There was a rare confluence of faculty, students, staff, facilities, and resources to support research into computer vision algorithms and hardware that produced remarkable developments in computer graphics and visualization techniques. This research was responsible for the birth of much of continuous-tone computer graphics as we know it today.” Continuous-tone computer graphics have a virtually unlimited range of color and shades of gray.
Evans began his career in 1955 at Bendix—an aviation electronics company in Avon, Ohio—as manager of a project that aimed to develop an early personal computer. He left to join the University of California, Berkeley, as chair of its computer science department. He also headed Berkeley’s research for the Pentagon’s Advanced Research Project Agency (now known as the Defense Advanced Research Projects Agency).
In 1963 Evans became a principal investigator for ARPA’s Project Genie. He helped develop hardware techniques that enabled commercial use of time-shared computer systems.
In 1965 the University of Utah hired him to establish its computer science department after receiving an ARPA grant of US $5 million to investigate how the emerging field of computer graphics could play a role in the country’s technological competitiveness, according to Computer Graphics and Computer Animation.
In 1968 Evans asked Sutherland, a former colleague at Berkeley who was then an associate professor of electrical engineering at Harvard, to join him at the University of Utah, luring him with the promise of starting a company together. Sutherland was already famous in computer graphics circles, having created Sketchpad, the first computer-aided design program, for his Ph.D. thesis in 1963 at MIT.
The two founded E&S almost as soon as Sutherland arrived, and they began working on computer-based simulation systems.
The duo in 1969 developed the line-drawing system displays LDS-1 and LDS-2, the first graphics devices with a processing unit. They then built the E&S Picture System—the next generation of LDS displays.
Those workstations, as they were called, came to be used by most computer-generated-imagery production companies through the 1980s.
E&S also developed computer-based simulation systems for military and commercial training, including the CT5 and CT6 flight simulators.
In addition to hiring employees, E&S welcomed computer science doctoral students from the university to work on their research projects at the company.
“Almost every influential person in the modern computer-graphics community either passed through the University of Utah or came into contact with it in some way,” Robert Rivlin wrote in his book, The Algorithmic Image: Graphic Visions of the Computer Age.
One of the doctoral students was Henri Gouraud, who in 1971 developed an algorithm to simulate the differing effects of light and color across the surface of an object. The Gouraud shading method is still used by creators of video games and cartoons.
In 1974 Edwin Catmull, then also a doctoral student at the university, developed the principle of texture mapping, a method for adding complexity to a computer-generated surface. Catmull went on to help found Pixar in 1986 with computer scientist Alvy Ray Smith, an IEEE member. For his work in the industry, Catmull received the 2006 IEEE John von Neumann Medal.
Doctoral student Bui Tuong Phong in 1973 devised Phong shading, a modeling method that reflects light so computer-generated graphics can look shiny and plasticlike.
“As a group, the University of Utah contributed more to the field of knowledge in computer graphics than any of its contemporaries,” Berg wrote in the Milestone proposal. “That fact is made most apparent both in the widespread use of the techniques developed and in the body of awards the innovations garnered.” The awards include several scientific and technical Oscars, an Emmy, and many IEEE medals.
Administered by the IEEE History Center and supported by donors, the Milestone program recognizes outstanding technical developments around the world.
The Milestone plaque displayed on a granite obelisk outside of the University of Utah’s Merrill engineering building reads:
In 1965 the University of Utah established a Center of Excellence for computer graphics research with Advanced Research Projects Agency (ARPA) funding. In 1968 two professors founded the pioneering graphics hardware company Evans & Sutherland; by 1978, fundamental rendering and visualization techniques disclosed in doctoral dissertations included the Warnock algorithm, Gouraud shading, the Catmull-Rom spline, and the Blinn-Phong reflection model. Alumni-founded companies include Atari, Silicon Graphics, Adobe, Pixar, and Netscape.
A group of researchers from NASA, MIT, and other institutions have achieved the fastest space-to-ground laser-communication link yet, doubling the record they set last year. With data rates of 200 gigabits per second, a satellite could transmit more than 2 terabytes of data—roughly as much as 1,000 high-definition movies—in a single 5-minute pass over a ground station.
“The implications are far-reaching because, put simply, more data means more discoveries,” says Jason Mitchell, an aerospace engineer at NASA’s Space Communications and Navigation program.
The new communications link was made possible with the TeraByte InfraRed Delivery (TBIRD) system orbiting about 530 kilometers above Earth’s surface. Launched into space last May, TBIRD achieved downlink rates of up to 100 Gb/s with a ground-based receiver in California by last June. This was 100 times as fast as the quickest Internet speeds in most cities, and more than 1,000 times as fast as radio links traditionally used for communications with satellites.
The fastest data networks on Earth typically rely on laser communications over fiber optics. However, a high-speed laser-based Internet does not exist yet for satellites. Instead, space agencies and commercial satellite operators most commonly use radio to communicate with objects in space. The infrared light that laser communications can employ has a much higher frequency than radio waves, enabling much higher data rates.
“There are satellites currently in orbit limited by the amount of data they are able to downlink, and this trend will only increase as more capable satellites are launched,” says Kat Riesing, an aerospace engineer and a staff member at MIT Lincoln Laboratory on the TBIRD team. “Even a hyperspectral imager—HISUI on the International Space Station—has to send data back to Earth via storage drives on cargo ships due to limitations on downlink rates. TBIRD is a big enabler for missions that collect important data on Earth’s climate and resources, as well as astrophysics applications such as black hole imaging.”
MIT Lincoln Laboratory conceived TBIRD in 2014 as a low-cost, high-speed way to access data on spacecraft. A key way it reduced expenses was by using commercial, off-the-shelf components originally developed for terrestrial use. These include high-rate optical modems developed for fiber telecommunications and high-speed large-volume storage to hold data, Riesing says.
Located onboard NASA’s Pathfinder Technology Demonstrator 3 (PTD-3) satellite, TBIRD was carried into orbit on SpaceX’s Transporter-5 rideshare mission from Cape Canaveral Space Force Station in Florida on 25 May 2022. The PTD-3 satellite is a roughly 12-kilogram CubeSat about the size of two stacked cereal boxes, and its TBIRD payload is no larger than the average tissue box. “Industry’s drive to small, low-power, high-data-rate optical transceivers enabled us to achieve a compact form factor suitable even for small satellites,” Mitchell says.
“There are satellites currently in orbit limited by the amount of data they are able to downlink, and this trend will only increase as more-capable satellites are launched.” —Kat Riesing, aerospace engineer, MIT Lincoln Laboratory
The development of TBIRD faced a number of challenges. To start with, terrestrial components are not designed to survive the rigors of launching to and operating in space. For example, during a thermal test simulating the extreme temperatures the devices might face in space, the fibers in the optical signal amplifier melted.
The problem was that, when used as originally intended, the atmosphere could help cool the amplifier through convection. When tested in a vacuum, simulating space, the heat that the amplifier generated was trapped. To solve the issue, the researchers worked with the amplifier’s vendor to modify it so that it released heat through conduction instead.
In addition, laser beams from space to Earth can experience distortion from atmospheric effects and weather conditions. This can cause power loss, and in turn data loss, for the beams.
To compensate, the scientists developed their own version of automatic repeat request (ARQ), a protocol for controlling errors in data transmission over a communications link. In this arrangement, the ground terminal uses a low-rate uplink signal to let the satellite know that it has to retransmit any block of data, or frame, that has been lost or damaged. The new protocol lets the ground station tell the satellite which frames it received correctly, so the satellite knows which ones to retransmit and not waste time sending data it doesn’t have to.
Another challenge the scientists faced stemmed from how lasers form in much narrower beams than radio transmissions. For successful data transmission, these beams must be aimed precisely at their receivers. This is often accomplished by mounting the laser on a gimbal. Due to TBIRD’s small size, however, it instead maneuvers the CubeSat carrying it to point it at the ground, using any error signals it receives to correct the satellite’s orientation. This gimbal-less strategy also helped further shrink TBIRD, making it cheaper to launch.
TBIRD’s architecture can support multiple channels through wavelength separation to enable higher data rates, Riesing says. This is how TBIRD accomplished a 200-Gb/s downlink on 28 April—by using two 100-Gb/s channels, she explains. “This can scale further on a future mission if the link is designed to support it,” Riesing notes.
“Put simply, more data means more discoveries.” —Jason Mitchell, aerospace engineer, NASA
The research team’s next step is to explore where to apply this technology in upcoming missions. “This technology is particularly useful for science missions where collecting a lot of data can provide significant benefits,” Riesing says. “One mission concept that is enabled by this is the Event Horizon Explorer mission, which will extend the exciting work of the Event Horizon Telescope in imaging black holes with even higher resolution.”
The scientists also want to explore how to extend this technology to different scenarios, such as geostationary orbit, Riesing says. Moreover, Mitchell says, they are looking at ways to push TBIRD’s capabilities as far away as the moon, in order to support future missions there. The rates under consideration are in the 1- to 5-Gb/s range, which “may not seem like much of an improvement, but remember the moon is roughly 400,000 km away from Earth, which is quite a long distance to cover,” Mitchell says.
The new technology may also find use in high-speed atmospheric data links on the ground. “For example, from building to building, or across inhospitable terrain, such as from mountaintop to mountaintop, where the cost of laying fiber systems could be exorbitant,” Riesing says.
On a gin-clear December day, I’m sitting under the plexiglass bubble of a radically new kind of aircraft. It’s a little past noon at the Byron Airport in northern California; in the distance, a jagged line of wind turbines atop rolling hills marks the Altamont Pass, blades spinning lazily. Above me, a cloudless blue sky beckons.
The aircraft, called BlackFly, is unlike anything else on the planet. Built by a Palo Alto, Calif., startup called Opener, it’s an electric vertical take-off and landing (eVTOL) aircraft with stubby wings fore and aft of the pilot, each with four motors and propellers. Visually, it’s as though an aerial speedster from a 1930s pulp sci-fi story has sprung from the page.
There are a couple of hundred startups designing or flying eVTOLs. But only a dozen or so are making tiny, technologically sophisticated machines whose primary purpose is to provide exhilarating but safe flying experiences to people after relatively minimal training. And in that group, Opener has jumped out to an early lead, having built dozens of aircraft at its facilities in Palo Alto and trained more than a score of people to fly them.
My own route to the cockpit of a BlackFly was relatively straightforward. I contacted the company’s CEO, Ken Karklin, in September 2022, pitched him on the idea of a story and video, and three months later I was flying one of his aircraft.
Well, sort of flying it. My brief flight was so highly automated that I was more passenger than pilot. Nevertheless, I spent about a day and a half before the flight being trained to fly the machine manually, so that I could take control if anything went wrong. For this training, I wore a virtual-reality headset and sat in a chair that tilted and gyrated to simulate flying maneuvers. To “fly” this simulation I manipulated a joystick that was identical to the one in the cockpit of a BlackFly. Opener’s chief operating officer, Kristina L. Menton, and engineer Wyatt Warner took turns patiently explaining the operations of the vehicle and giving me challenging tasks to complete, such as hovering and performing virtual landings in a vicious crosswind.
The BlackFly is entirely controlled by that joystick, which is equipped with a trigger and also topped by a thumb switch. To take off, I squeeze the trigger while simultaneously pushing forward on the switch. The machine leaps into the air with the sound of a million bees, and with a surge of giddy elation I am climbing skyward.
Much more so than an airplane or helicopter, the BlackFly taps into archetypal human yearnings for flight, the kind represented by magic carpets, the flying cars in “The Jetsons,” and even those Mountain Banshees in the movie “Avatar.” I’ve had several unusual experiences in aircraft, including flying on NASA’s zero-gravity-simulating “Vomit Comet,” and being whisked around in a BlackFly was definitely the most absorbing and delightful. Gazing out over the Altamont Pass from an altitude of about 60 meters, I had a feeling of joyous release—from Earth’s gravity and from earthly troubles.
For technical details about the BlackFly and to learn more about its origin, go here.
The BlackFly is also a likely harbinger of things to come. Most of the startups developing eVTOLs are building vehicles meant to carry several passengers on commercial runs of less than 50 kilometers. Although the plan is for these to be flown by pilots initially, most of the companies anticipate a day when the flights will be completely automated. So specialized aircraft such as the BlackFly—designed to be registered and operated as “ultralight” aircraft under aviation regulations—could provide mountains of invaluable data on highly and fully automated flying and perhaps even help familiarize people with the idea of flying without a pilot. Indeed, during my flight, dozens of sensors gathered gigabytes of data, to add to the large reservoir Opener has already collected during many hundreds of test flights so far.
As of late February 2023, Opener hadn’t yet announced a retail price or an official commercial release date for the aircraft, which has been under development and testing for more than a decade. I’ll be keeping an eye out for further news of the company. Long after my flight was over I was still savoring the experience, and hoping for another one.
Special thanks to IEEE.tv for collaborating on production of this video.
Non-fungible tokens (NFTs) are the most popular digital assets today, capturing the attention of cryptocurrency investors, whales and people from around the world. People find it amazing that some users spend thousands or millions of dollars on a single NFT-based image of a monkey or other token, but you can simply take a screenshot for free. So here we share some freuently asked question about NFTs.
NFT stands for non-fungible token, which is a cryptographic token on a blockchain with unique identification codes that distinguish it from other tokens. NFTs are unique and not interchangeable, which means no two NFTs are the same. NFTs can be a unique artwork, GIF, Images, videos, Audio album. in-game items, collectibles etc.
A blockchain is a distributed digital ledger that allows for the secure storage of data. By recording any kind of information—such as bank account transactions, the ownership of Non-Fungible Tokens (NFTs), or Decentralized Finance (DeFi) smart contracts—in one place, and distributing it to many different computers, blockchains ensure that data can’t be manipulated without everyone in the system being aware.
The value of an NFT comes from its ability to be traded freely and securely on the blockchain, which is not possible with other current digital ownership solutionsThe NFT points to its location on the blockchain, but doesn’t necessarily contain the digital property. For example, if you replace one bitcoin with another, you will still have the same thing. If you buy a non-fungible item, such as a movie ticket, it is impossible to replace it with any other movie ticket because each ticket is unique to a specific time and place.
One of the unique characteristics of non-fungible tokens (NFTs) is that they can be tokenised to create a digital certificate of ownership that can be bought, sold and traded on the blockchain.
As with crypto-currency, records of who owns what are stored on a ledger that is maintained by thousands of computers around the world. These records can’t be forged because the whole system operates on an open-source network.
NFTs also contain smart contracts—small computer programs that run on the blockchain—that give the artist, for example, a cut of any future sale of the token.
Non-fungible tokens (NFTs) aren't cryptocurrencies, but they do use blockchain technology. Many NFTs are based on Ethereum, where the blockchain serves as a ledger for all the transactions related to said NFT and the properties it represents.5) How to make an NFT?
Anyone can create an NFT. All you need is a digital wallet, some ethereum tokens and a connection to an NFT marketplace where you’ll be able to upload and sell your creations
When you purchase a stock in NFT, that purchase is recorded on the blockchain—the bitcoin ledger of transactions—and that entry acts as your proof of ownership.
The value of an NFT varies a lot based on the digital asset up for grabs. People use NFTs to trade and sell digital art, so when creating an NFT, you should consider the popularity of your digital artwork along with historical statistics.
In the year 2021, a digital artist called Pak created an artwork called The Merge. It was sold on the Nifty Gateway NFT market for $91.8 million.
Non-fungible tokens can be used in investment opportunities. One can purchase an NFT and resell it at a profit. Certain NFT marketplaces let sellers of NFTs keep a percentage of the profits from sales of the assets they create.
Many people want to buy NFTs because it lets them support the arts and own something cool from their favorite musicians, brands, and celebrities. NFTs also give artists an opportunity to program in continual royalties if someone buys their work. Galleries see this as a way to reach new buyers interested in art.
There are many places to buy digital assets, like opensea and their policies vary. On top shot, for instance, you sign up for a waitlist that can be thousands of people long. When a digital asset goes on sale, you are occasionally chosen to purchase it.
To mint an NFT token, you must pay some amount of gas fee to process the transaction on the Etherum blockchain, but you can mint your NFT on a different blockchain called Polygon to avoid paying gas fees. This option is available on OpenSea and this simply denotes that your NFT will only be able to trade using Polygon's blockchain and not Etherum's blockchain. Mintable allows you to mint NFTs for free without paying any gas fees.
The answer is no. Non-Fungible Tokens are minted on the blockchain using cryptocurrencies such as Etherum, Solana, Polygon, and so on. Once a Non-Fungible Token is minted, the transaction is recorded on the blockchain and the contract or license is awarded to whoever has that Non-Fungible Token in their wallet.
You can sell your work and creations by attaching a license to it on the blockchain, where its ownership can be transferred. This lets you get exposure without losing full ownership of your work. Some of the most successful projects include Cryptopunks, Bored Ape Yatch Club NFTs, SandBox, World of Women and so on. These NFT projects have gained popularity globally and are owned by celebrities and other successful entrepreneurs. Owning one of these NFTs gives you an automatic ticket to exclusive business meetings and life-changing connections.
That’s a wrap. Hope you guys found this article enlightening. I just answer some question with my limited knowledge about NFTs. If you have any questions or suggestions, feel free to drop them in the comment section below. Also I have a question for you, Is bitcoin an NFTs? let me know in The comment section below
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