Rasheed Manuel

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Genres: Drama
country: UK
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Summary: The Roads Not Taken is a movie starring Javier Bardem, Elle Fanning, and Salma Hayek. Sally Potter's film follows a day in the life of Leo (Javier Bardem) and his daughter, Molly (Elle Fanning), as he floats through alternate lives
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The Roads Not Taken Watch stream new. I could not travel both as being one traveller. I took the road less taken. N that made all difference?. This poem is one of my favorite... It was thr in our 9 th textbook. Thank you... The Roads Not Taken Watch streaming. I have another Robert Frost poem, oh god, I'll come back to this and edit it... The roads not taken watch streamers. The Roads Not Taken Watch streaming sur internet. Unsung heroes: Reconceptualizing a video game as a work of art. Jessica Hoffmann Davis, EdD () The doorbell rang just as the doctor at St. Denis (a fictive town in the video game Red Dead Redemption 2) was telling Arthur, (my playable character in the 80+ hour game) that he had incurable tuberculosis. Devastated, I raced to the door, explained quickly to the technician that I couldn’t sign anything for the moment, and rushed back to finish watching that cinematic cut into the regular action of the game. As I returned to the door, I could hear the technician stifling a laugh. Clearly, he found it amusing that a woman of my advanced age was immersed in a video game. “Which one? ” he asked pleasantly. “ Red Dead Redemption 2, ” I replied, and his mouth fell open. “You know it? ” I asked. “Who doesn’t? ” he exclaimed. And of course, he did. Red Dead Redemption 2 (RDR2) was one of the hottest games of 2018. The New York Times reported it making $725 million in the first three days it opened, making it the “highest grossing opening weekend of any entertainment product?ever” (Suderman, NYT, 11/25/18, p. 8). “I tried it, ” he said, “but I don’t really have time to stay with the story with two young children climbing all over me. ” Yes, that would be hard. For me, at this stage in my life, my only regular interruption was my little dog who thought the horses, dogs, and other animals so realistically portrayed in Red Dead Redemption 2 were in the room with us. Lucky was also frightened by the sound of shooting guns that admittedly happened frequently throughout the game. “How’d you get into it? ” the technician asked. “My son is Dutch van der Linde. ” Dutch is the sophisticated enchanting evil manipulative philosophic idealistic intellectual outlaw whose charisma and treachery are at the center of the game. “You mean the character in the game is like your son? ” “No”, I replied, “the character in the game is my son. ” He was baffled. “The actor who plays Dutch van der Linde is my son. ” “Oh. you mean, he gave the voice to the animated figure? ” Apparently, this guy had never heard of performance capture and how the game’s animation is framed by digital recordings of the actual actions and expressions of the actors. “Performance capture. ” I explained, “you know they wear the leotards with electric ping pong balls all over them? ” “Oh yeah, ” the technician nodded, clearly impressed, unsure by what. “Well, good luck with it, ” the young man said, “Hope you win. ” Win? Proof positive that he had never played Red Dead Redemption 2, a game that has no winners or losers and a course of action determined by individual players. For most of the time, as the only playable character Arthur Morgan, (a misguided big-hearted gunslinger), you’re an actor in the theater of the game, riding your horse, tackling missions as directed, trying to do your best. For the rest of the time, you’re the director, deciding what comes next in the narrative, making choices that range from virtuous vs. damnable courses of action to what outfit your character will wear. Fully within the shape and direction of the narrative, you are co-constructor of a story…or is it a movie? Now and then, with filmed action cut-scenes, it definitely is. Either way, the New York Times calls the game a “work of art” (ibid, p. 8); an online fan calls it an “experience”; I call it an “adventure. ” No, a “story. ” No, a movie in which I am the protagonist and the director. A reader of lines; a writer of outcomes. I agree. “A work of Art. ” Origins My son, actor Benjamin Byron Davis, worked on the Red Dead Redemption 2 project for five years. Five years of flying back and forth between Los Angeles and New York, memorizing countless lines (the script was 2000 pages long), rehearsing in locations on either coast, performing in black spandex “mo-cap” (motion capture) suits, gun belts at his side, riding a saw horse that would appear as a Tennessee Walker or an Arabian, imagining in a warehouse studio space, the vast landscape of the wild west. Reportedly, the hardest part of it all was the non-disclosure agreement that the ensemble signed, assuring Rockstar Games that the actors would not reveal a minute of what they were doing prior to release, let alone that they had any knowledge that there would ever be a prequel to the earlier game, Red Dead Redemption. When the game finally emerged, it was met with thunderous enthusiasm and commentary suggesting it had broken the boundaries between technology and art, exploring territory traditionally reserved for the arenas of dramatic or cinematic arts. Beautifully written, gorgeously acted, and outrageously picturesque, the game welcomes players into an imaginary world in which they can ride their horses all night, explore new directions as the sun rises, pause to camp under a shading tree or alongside a slippery river, feel a gentle rain, marvel at a star studded sky, and inter-relate with characters as close as fellow outlaws in the Van der Linde gang and as mysterious as strangers alongside an unknown road. The terrain would become familiar, the dead tree marking the road to camp, the tree lined path to the Braithwaite Manor. the train tracks, water ways, and jagged narrow mountain paths. But I knew nothing of this when the Red Dead Redemption 2 ensemble of performance capture artists came to FanExpo Boston at the Boston Convention Center in August, 2019. The Fans I had never attended a fan expo or comic-con before. These conventions famously provide a venue where literally thousands of comic book/video game fans can gather. Walking about as if it was another day at the mall, are life sized superheroes, video game characters, and other creative inventions of comic book types. The costumes are pristine and professional looking and even the youngest children look as if they’ve just emerged from their movie trailers down the street. Walking through galleries of booths selling such collectible objects as original artwork and vintage comic books or giving away trinkets that promote an upcoming game, I was struck by the creativity with which the atmosphere was infused. And when I reached the designated area in which fans could actually meet their favorite video game actors and get an autograph or a selfie, I was astonished by the length of the lines. I knew this happened around the world; Benjamin had already taken part in conventions in Hawaii, Philadelphia, Texas, and Kuwait. But what impressed me greatly, moved some chord within that is devoted to the arts in education, was that practically all of the fans waiting on line to meet the real Dutch van der Linde, had a gift in hand. The gifts were drawings of Dutch from various scenes in the game, or “wanted” posters of the artist’s design-an artistic response to the work of art that was the game; and the artwork itself was first rate. Surely some were more crudely drawn than others, but all the work presented had clearly been crafted with care and affection. Reflection Later, Dutch van der Linde (Benjamin) and Arthur Morgan (Roger Clark) sat on a panel and talked about the experience of working on Red Dead Redemption 2, the challenge of learning masses of lines in short periods of time, developing a role over time, working in those spandex suits, and especially the non-disclosure agreement that kept them from telling anyone what they were up to until release. It made the ensemble closer, only being allowed to talk about it all with each other. And then the questions came from the audience. I was sitting between Captain Marvel and I think the Joker, in a room filled with costumed articulate adults framing the most sophisticated questions, reflecting their knowledge of the narrative of the game, the process of production, and its place in the greater context of video game play, culture, and history. “What other artistic arena was it most like? ” “Literature. ” The actors replied. “When did Arthur discover Dutch wasn’t all he had thought he was? ” and among this interesting back and forth, an occasional fan would ask Arthur to call his horse or Dutch to say out loud the resonant phrase, “I have a plan. ” The fans waxed rhapsodic about the performances and I realized two things: 1) the attachment these players felt with the actors from the game was more intimate and profound than the connection audiences have with actors in plays and movies: and 2) the only way I would get to experience my son’s celebrated performance was to learn to play Red Dead Redemption 2. The Challenge It was then that I bought a copy of the game (RDR2) and a Play Station 4 (PS4), the video console that enables game play. Installing the PS4 was not complicated but it took me a few days to find the courage to think that I was capable. The console came with a controller with which the player enters and navigates the game and learning how to use that smooth hand-held device took me the better part of two weeks. That was not just because of lack of confidence, not just because I believed that such a device belonged to another generation, but also because the controller is a pretty complicated device. There are so many options for control that I quickly ordered the Red Dead Redemption 2 guidebook which fearsomely is 385 pages long. The print is small. Enter my hand-held large red magnifying glass. I practiced and practiced but mastery came slowly. My ineptitude with the controller prevented me from keeping my horse on a steady keel
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The Roads Not Taken Watch stream online. The Roads Not Taken Watch stream.nbcolympics. The Roads Not Taken Watch stream of consciousness. So beautiful. By Bruce Maccabee from Brumac Website This is a discussion of the photographic print obtained by Frank Warren which was made from the original negative. Several different versions are presented in an effort to understand the nature of the “object” (dense smoke? solid body? ) at the convergence of the beams. The date of the photo is Feb 25, 1942. The story of the Battle of Los Angeles near the start of WWII as told by newspapers and witnesses from several sources follows the photo analysis. If anyone has further information on this event, please contact me through this web site. First we have the print as provided by Frank Warren: Next we have some enhanced versions: Sometimes it is helpful to see a negative. One presumes that this is what the actual negative looks like. Self-explanatory: The caption under photo reads: “SEEKING OUT OBJECT - Scores of searchlights built a wigwam of light beams over Los Angeles early yesterday morning during the alarm. This picture was taken during blackout; shows nine beams converging on an object in sky in Culver City area. The blobs of light which show at apex of beam angles were made by anti-aircraft shells. ” To get the true relative image brightnesses it is necessary to scan the original negative and then adjust the “gamma” (relation between film image density and the about of light which made the image) to match the gamma at development. This is typically 1, but they may have pushed the film to a higher gamma to get faint images. There may well be information on the shape of the “object” which is not discernible from the print because apparently the exposure level of the “object” is quite high and so the image may be well into the range of brightness saturation of the print. IF this is so, i. e., if the print image is well saturated, no amount of analysis will “dig out” the totality of brightness information (variations in the high brightness levels) contained within the negative. I don’t know the film speed or the f stop of the camera. However, I would guess that the f-stop was low (lens “wide open”; f/2 or 3? ) and that this is a time exposure because, the light beams show up there are quite a few “explosions” (I presume) which probably did not happen all at once The exposure could have been several seconds. The fact that the beams basically do not get past the “object” (there is some faint evidence of beams above the object), whatever was at the beam convergence must have been optically quite dense. If there was a lot of smoke swirling around the volume of air illuminated by the beams, I would expect to see variations in bream brightness (brighter where there was smoke). There are variations, but they are uniform and agree with the distance (from the searchlight) and width of the beam. That is, the variations are consistent with each beam getting dimmer as it travels away from the searchlight. IF there were smoke within any beam it should cause an increase in scattered light where there is smoke (which is how we see the beams anyway... light bounced or scattered from dust or smoke particles in the air). The beams are quite bright before they reach the “object” and zero or nearly zero afterward. Just how much optical density of smoke this requires I do not know. However, certainly a solid metallic object would be sufficient to block the beams. How large is the “object”? If we knew the distance of the camera from the beam convergence and the focal length of the camera we could calculate the approximate size. This requires knowing what portion of the city the object was over, where the cameraman was, and the altitude of the “object. ” An alternative method is to estimate the diameter of a spotlight beam at some distance from the spotlight and use that width as a reference size. I found a research article by Dr. Louis Eltermann that reports research in the latter 1940’s in which he used an army searchlight to probe the upper atmosphere in order to determine the vertical distribution of dust in the atmosphere. Note: Eltermann was the author of the infamous Project Twinkle Report in November, 1951, which ignored or “covered up” or, at the very least, misrepresented, the White Sands movie film that proved unidentified objects were flying around. See THE UFO-FBI CONNECTION by Bruce Maccabee [Llewellyn, St. Paul, MN, 2000. Also, ] Eltermann described the searchlight as being 5 ft in diameter and with a divergence of about 1. 25 degrees or about 20 milliradians. This means that the diameter at a distance d from the mirror would be about D = 5’+0. 02d. Thus at 1000 ft the diameter would be about 25 ft. Of course, the beam is not uniformly bright across its diameter, so the effective diameter might be closer to 20 feet. Consider the beam at the right side of the photo. It protrudes upward at some angle, probably not the angle in the photo. Suppose the elevation angle were 30 degrees. The “object” width is oriented horizontally (parallel to the ground) whereas the beam is assumed to be tilted at about 30 degrees. Hence the horizontal width of the beam, W, (not perpendicular to the beam axis) would be W = D/sin (angle of elevation) = D/sin(30) = 2D for the assumed 30 degree elevation angle. Hence if the object were 1000 ft from the projection lens it was about 2 x 25 = 50 ft wide. If at 2000 ft the calculation yields D = 45 ft and W = 90 ft. One estimate of the height of the object was 8, 000 ft. For a 30 degree slant angle of the beam from ground level up to 8, 000 ft the distance along the beam would be about 8, 000/sin 30 = 16, 000 ft. If this were so, then the beam diameter at that height would have been about 165 ft and the horizontal width of the object would have been about 330 ft. If the slant angle of the beam was less than 30 degrees then the calculated sizes would have been larger. Conversely, if the slant angle was greater the calculated sizes would have been smaller. Based on the above calculations, and realizing that a much better estimate could be made if we had more accurate information on the spotlights, camera, etc., I would hazard a guess that the width of the illuminated “object” is on the order of 100 ft or more in size. Without more solid information to go on this has to be no more than a WAG ( guess) (but I bet its close to right! ) (NOTE: if you found this photo-analysis interesting you may want to check out the analyses of other photo cases at. ) THE STORY, AS REPORTED IN VARIOUS SOURCES The following are excerpts from the primary front page story of the LA Times on February 26th. Note that there is not a SINGLE description of the object even though is was clearly locked in the focus of dozens of searchlights for well over half an hour and seen by hundreds of thousands of people: Army Says Alarm Real Roaring Guns Mark Blackout Identity of Aircraft Veiled in Mystery; No Bombs Dropped and No Enemy Craft Hit; Civilians Reports Seeing Planes and Balloon Overshadowing a nation-wide maelstrom of rumors and conflicting reports, the Army’s Western Defense Command insisted that Los Angeles’ early morning blackout and anti-aircraft action were the result of unidentified aircraft sighted over the beach area. In two official statements, issued while Secretary of the Navy Knox in Washington was attributing the activity to a false alarm and “jittery nerves, ” the command in San Francisco confirmed and reconfirmed the presence over the Southland of unidentified planes. Relayed by the Southern California sector office in Pasadena, the second statement read: “The aircraft which caused the blackout in the Los Angeles area for several hours this a. m. have not been identified. ” Insistence from official quarters that the alarm was real came as hundreds of thousands of citizens who heard and saw the activity spread countless varying stories of the episode. The spectacular anti-aircraft barrage came after the 14th Interceptor Command ordered the blackout when strange craft were reported over the coastline. Powerful searchlights from countless stations stabbed the sky with brilliant probing fingers while anti-aircraft batteries dotted the heavens with beautiful, if sinister, orange bursts of shrapnel. City Blacked Out For Hours The city was blacked out from 2:25 to 7:21 am after an earlier yellow alert at 7:18 pm was called off at 10:23 pm. The blackout was in effect from here to the Mexican border and inland to the San Joaquin Valley. No bombs were dropped and no airplanes shot down and, miraculously in terms of the tons of missiles hurled aloft, only two persons were reported wounded by falling shell fragments. Countless thousands of Southland residents, many of whom were late to work because of the traffic tie-up during the blackout, rubbed their eyes sleepily yesterday and agreed that regardless of the question of how “real” the air raid alarm may have been, it was “a great show” and “well worth losing a few hours’ sleep. ” The blackout was not without its casualties, however. A State Guardsman died of a heart attack while driving an ammunition truck, heart failure also accounted for the death of an air raid warden on duty, a woman was killed in a car-truck collision in Arcadia, and a Long Beach policeman was killed in a traffic crash enroute to duty. Much of the firing appeared to come from the vicinity of aircraft plants along the coastal area of Santa Monica, Inglewood, Southwest Los Angeles, and Long Beach. The Times editorial reads: “In view of the considerable public excitement and confusion caused by yesterday morning’s supposed enemy air raid over this area and its spectacular official accompaniments, it seems to The Times that more specific public information should be forthcoming from government sources on the subject, if only to clarify their own conflicting statements about it. ” “According to the Associated Press, Secretary Knox intimated that reports of enemy air activity in the Pacific Coastal Region might be d