#i am combining game+coding+learning unreal basically in parts

[baekuras]

I literally decided to learn like the very basics of python today which apparently awoke my brain so now it wants to do EVERY.SINGLE.THING i haven't done these past last //waves incoherently-time....at once

this is good on one hand because yay motivation really bad on the other because if I don't tread carefully i will loose motivation for all those things because idk choice paralysis or whatever it's called

too many things, too little time

[consciousowl]

Do I Have a Soul?

And the LORD God formed man of the dust of the ground,

and breathed into his nostrils the breath of life;

and man became a living soul.

Moses in the Book of Genesis

In Ridley Scott’s cult classic, Blade Runner, set in 2019, we meet an L.A. cop, Captain Decker (Harrison Ford), sent to hunt down renegade replicants, or androids, up to no good, being highly resentful that their creator had timed them to die.

Captain Decker meets Rachael (Sean Young), the most advanced replicant. Decker can’t figure out if she, as the creator’s assistant, is a real human being with a soul, or simply his masterpiece. In the end, Decker falls in love with Rachel, and takes her with him. To Decker, it really doesn’t matter whether she is human or not. He simply can’t tell the difference.​

What Is the Soul?

When you speak of the soul, everyone knows what you are talking about, but hardly anyone can clearly explain it. Soul is clearly what makes us human. Soul is the very core of our being. Soul is the essence of our individuality over and against our body.

The soul is defined with various ancient words. In Hebrew, it is nefesh, or the breath of life. In Greek, it is psyche, or mind. In Sanskrit, it is the jivatman, our essence as an individual that migrates from life to life. It speaks of our heart as much as our mind, being closer to the heart.

Genesis depicts the soul as the breath of the Creator that makes the clay figurine, Adam, come alive. Adam is no longer dust; he is “a living soul.” Although this narrative is clearly metaphorical, it speaks to our divine nature, what differentiates us from other animals. We are human, if not also divine.​

Is the Soul and the Spirit the Same Thing?

In the Bible, spirit is represented with different words in the original. “Ruah” (breath or wind) in Hebrew and “Pneuma” (air) in Greek. In Sanskrit, God, from an impersonal standpoint, is “Brahman” (Infinite expansion). In Buddhism, it is often thought that humanity has no soul, as all phenomena are continually changing and are ultimately illusion.

In the Letter to the Hebrews, the apostle, most likely Saint Paul, distinguishes between soul and spirit, knowable only through revelation. In this context, the soul is the foundation of our human nature, while spirit is our divine nature.​

The soul may be everlasting, but not eternal. There was a time when your soul was not, but it may never end. Your spirit, however, is eternal. It always was, it always will be, because it is the very nature of God.

Your soul is the very heart of your individuality, what makes you “YOU” as “Mark” or “Audrey” or “Phil.” It suggests your presence. If you are in love with her, you feel her independent of her physical appearance. Your spirit, however, is one with the Source of the Universe, in which the galaxies spin.

Why Even Ask the Question?

Several hundred years ago, before the modern age, you would seem very strange to the people in your life if you asked a question like this. It was obvious to most cultures, societies and civilizations in the world that we have a soul. The only intelligent question was, “What happens to our soul after we die?” Here again, most societies accepted that our souls actually went somewhere. They survived the body.

With the emergence of the scientific method, the philosophy of rational empiricism emerged out of the immense success of science in making predictions and advancing technology. For experimental purposes, if you can’t publically sense something and actually measure it, it is unreal. It just doesn’t exist.

In the modern age, the soul got increasingly associated with the brain, as opposed to the heart. It became popular to suppose that our mind was entirely due to the intermittent firings of our neurons, much like a cortical thunderstorm. The moment you pull the plug and stop the action, the mind is gone, along with your soul.

Clearly, this assumption didn’t sit well with most people. Thanks to the father of modern philosophy, Renee Descartes, they took refuge in dualism, that the soul resides entirely in a different realm. The body is the body, and the soul is the soul.

As Descartes famously put it, “I think. Therefore, I am.”​

The Challenge From Neuroscience

In the past decade, research on the brain and the human nervous system has escalated. We have already decoded the human genome. Whereas earlier we were in the kindergarten stage, we may be confident that we are now in the elementary stage of understanding brain functioning. The global IT infrastructure required to support this research is now many times greater than it was even a decade ago.

The more we know about the brain, the more tempting it is to try and explain away the soul as simply neurological processes. However, the brain is vastly complex, with billions of neurons in intelligent patterns. If you look at all the possible combination of patterns in any single brain, you will have more than the number of stars in the known universe.​

Scientists have started to attempt on a crude level to reverse engineer the brain with varying degrees of success, as many of our neurological processes are analogical, rather than digital, meaning they are not simply on / off states. In addition, the brain does massively parallel processing way beyond what our current computers can do. Currently, software developers are in the early stages of writing and perfecting code for parallel processing.​

The Challenge from Artificial Intelligence

A.I. research is finally bearing fruit after decades of exasperating setbacks. Back in the 1950’s, mimicking the brain seemed much easier, as our understanding of both the brain and computer technology was so basic. Early on, there were two directions in developing computing. The first was to look at the computer as an ultimate replacement for the brain. The second was to look at the computer as an instrument to augment human intelligence.

Today, A.I. is being commercialized and introduced in every field and industry. We are about to see personal robots, drones, self-driving cars and flying automobiles on an everyday basis. Google has been using deep learning in its apps for years. Systems are now capable of simple self-learning. For example, you can instruct a system to identify pictures of cats from thousands of photos without any labels.

We aren’t yet at the stage where a system can fool people into believing it is a person, but we now see IBM Watson routinely beat, not only world-class chess players, but Jeopardy participants, a game requiring cultural sophistication. One system has even designed a crude, but intelligible, one-act screenplay!​

Can My Soul Be Downloaded into a Machine?

When Timothy Leary, the acid guru, was about to pass away, he gave instructions to freeze his brain immediately after he was gone in the hopes that a future generation could thaw it, and plant it into a human body. If we can transplant hearts, why not brains?

Transhumanists go beyond this. Since many neurological operations can be coded, one might suppose that human consciousness is an “epiphenomenon” of the brain. We are conscious only in so far as we are programmed, and have an electronic current flowing through us. Should this be the case, then all of the code could be put together and stored in a large rack-mounted platform.

The problem with this line of thinking is that we are, from a biological standpoint, organisms, not machines. We are most definitely not simply an assemblage of parts. Rather, every system of the body grew out of a single fertilized egg. Can we really equate life with machinery?​

Will Computers Ever Be Smarter Than Me?

Right now, computing platforms can do many operations much faster than human beings. They can do more operations and do them faster on some, but not all aspects of thinking. The issue seems to be whether computers can beat human beings in generalized intelligence. There are at least a dozen different kinds: verbal, abstract reasoning, spatial logic, kinesthetic, aesthetic, spiritual, emotional and moral.

It would seem to be a long time before computers master all the different types of human intelligence and can be totally mistaken for human beings. However, it is very clear, as with Apple’s Macintosh, that manufacturers and developers can humanize and personalize systems in certain ways, SIRI being a crude beginning.

Even more to the point, it is dubious how successful systems will be in replicating human beings’ actual feelings and emotions. To date, most of the focus on A.I. and neuroscience has been around rationality and perception. Intuition and emotion seems to be largely overlooked. Given the role of the human heart (which is highly intelligent from a neurological standpoint), it might be more appropriate than the brain in these areas.​

Why Both Neuroscience and A.I. Completely Miss the Point

Scientific research into neuroscience and A.I. has yet to deal with what it calls “the hard problem.” How do we explain human subjectivity? When I see a gorgeous sunset upon closing my eyes, where is that sunset? Surgeons can’t really isolate any particular group of cells where it is happening. Our imagination seems to reside in a wholly different dimension.

Dr. Deepak Chopra and Dr. Menas Kafatos recently published a marvelous book, “You Are the Universe,” popularizing what they call “qualitas,” the experience of quality in what is superficially considered a quantitative world. They suggest that the brain might be a tuning mechanism for experience, which resides “nonlocally,” meaning it can’t be reduced to any specific locality.

We can’t isolate any experience as happening “out there,” as it is only through our internal sensations and thoughts that we can construct the concept of an external body and world. Quantum physics has eradicated the notion that you can have a world without someone to observe it.​

Will My Soul Ever Die?

Throughout history, most cultures have seen the soul going on well after the body has dissolved. Death is seen as the separation of the soul from the body. The body is temporal, but the soul is everlasting. One thinks of reincarnation on the one hand, and becoming one with it all and merging with God on the other.

Near death experiences are vividly narrated, with a strong suggestion of the survival of our individuality, and the overwhelming experience of love and well-being in the afterlife. It would seem that we have another body every bit as real as our current human body. The testimony of Dr. Eben Alexander, a neurosurgeon who flatlined his brain for seven days, seems most impressive in this respect.

The New Testament narrative of resurrection points to a glorified body that has a relationship to the former body, but it is not subject to the same laws. It can eat fish, and yet walk through walls. It can be touched, but is capable of levitating into the sky. Could this be a transformed soul body? In Hinduism, ever subtler dimensions of ourselves each have their own discrete body, culminating in the “Anandamayakosha,” or bliss body.​

Who Am I… Really?

While it is often considered blasphemy to claim that you are God, this may be our greatest truth. If there is only God, which is not a ridiculous proposition after a thorough study of quantum physics, then each of us is God hiding out as you and me. It may be that we live in a divine love story, where the individuality of each one of us is infinitely precious to our Source.

In the wink of an eye, God can bring us all back in a glorified body. If an advanced computer system can launch an entire universe in 3D virtual reality, could God do any less?

If you are interested in exploring the infinite nature of your soul and how it impacts your experience of the world daily… we recommend you do it with Deepak Chopra, a world-renowned thought leader in this space. Click here for more details.​

Do I Have a Soul? appeared first on http://consciousowl.com.

[alice-evey-blog1]

Presentation: Merce Cunningham

“A man is a two-legged creature – more basically and more intimately than he is anything else."  - Merce Cunningham

A Glance of His Biography

1919 - Was born in Centralia, Washington 

Began to study dance at 12 years of age. 

1939 - Invited by Martha Graham to join her, and became a soloist for her company. 

1943 - Encouraged by Graham, Cunningham began to choreograph.

1945 - left Graham’s company and began to work with John Cage.  

1966 - Collaborated with filmmaker Stan Van Der Beek to produce Variations V, the first of its kind “dance film” -  Choreography created expressly for videotape

1989 – Began to use computer technology to help him devise movement. 

Understanding His Chance and Indeterminacy

Many interviews are available online. 

[Interview] <<< For this one, from 4′30′’ to 7′30′’, he briefly explained his idea on movements and time, and dance and other art form (music especially).

Techniques:  Chance and Indeterminacy

Common Time & Rhythmic Structure: The time lengths that were agreed upon as beginning and ending structure points between the music and the dance – we worked separately on the choreography and the musical composition. This allowed the music and the dance to have an independence between the structure points [2]

Chance Operations: In principle, it involves working out a large number of dance phrases, each separately, then applying chance to discover the continuity – what phrase follows what phrase, how time-wise and rhythmically the particular movement operates, how many and which dancers might be involved with it, and where it is in the space and how divided. It led, and continues to lead, to new discoveries as to how to get from one movement to the next, presenting almost constantly situations in which the imagination is challenged. [2]

Computer Software Lifeforms: Cunningham famously pioneered the use of the choreographic software Lifeforms in the late 1980s, where a computer generates movement possibilities beyond the imagination of the human mind and body. [7]

Philosophy Behind

Movement is expressive in itself, in other words for dance to be meaningful there is no need to refer to anything beyond it. Rather than an authoritarian management of the viewers’ experience, Cunningham created situations that allowed for multiple perspectives.

In a Merce Cunningham work, the position of one dancer on the stage is no more important than that of another.  Moreover, he has displaced the linear, plot-driven narrative of traditional dance with a dynamic, non-hierarchical field in which cause and effect no longer govern the performers’ movements. Since sequences are not rigidly thematized, they can easily sustain a myriad of interpretations, whose sheer variety celebrates the essential “singleness” of the moment in space and time. 

...... 

Chance had also assumed new importance because of a fresh English translation of the I Ching. This Chinese classic relies on the casting of yarrow sticks or the tossing of coins to generate its divinatory hexagrams.  Extrapolating from these developments and also taking cues from Cage and contemporary Fluxus artists, Cunningham used chance methods to decide how to sequence choreographic phrases, how many dancers would perform at any given point, where they would stand on stage, and where they would enter and exit.  The earliest of his works in this mode were performed by his company and others at the Festival of Creative Arts at Brandeis University (1952).  A year later came Suite By Chance (1953), the first piece to be produced entirely by chance operations.  Cunningham described his methodology, which resonates with the premises of the I Ching: 

When I choreograph a piece by tossing pennies—by chance, that is—I am finding my resources in that play, which is not the product of my will, but which is an energy and a law which I too obey.  Some people seem to think that it is inhuman and mechanistic to toss pennies in creating a dance instead of chewing the nails or beating the head against a wall or thumbing through old notebooks for ideas.  But the feeling I have when I compose in this way is that I am in touch with a natural resource far greater than my own personal inventiveness could ever be, much more universally human than the particular habits of my own practice, and organically rising out of common pools of motor impulses. [3]

Lifeforms adds something to our experience in physical terms – we begin to learn about the operation of the body”. Interestingly, the beauty of animal motion has long inspired his imagination beyond the parameters of human anatomy. [7]

However, there are many debates on his methods, as one may argue they are too arbitrary and lack a sense of humanity.

For instance, Tresca Weinstein commented in 1998: ‘What’s most chilling about Cunningham is the absence of emotion. His dancers move like well-assembled collections of body parts, powered by the force of nature or mechanics but without will or desire of their own’.

In 1952, Cunningham affirmed that “(the chance) method might lead one to suspect the result as being possibly geometric and "abstract", unreal and non-human. On the contrary, it is . . . no more abstract than any human being is, and as for reality, it is just that, it is not abstracted from something else, but is the thing itself, and moreover allows each dancer to be just as human as he is” (1997: 87). ......

In line with this reasoning, I shall suggest that Cunningham’s dances in fact philosophize in ways which point to consequences more radical than his intended anchoring in ‘the thing itself’. Allowing the dancer to be ‘just as human as he is’ does not assume a stable category of the ‘human’. Cunningham’s choreography in fact forces us to re-think relations, not only between space and time, but between intentionality and movement, the arbitrary and the purposeful, and even between what we conceive of as human and ‘other’ ways of moving, notably involving interactions with animal and computerized forms of movement. The effect is to destabilize – literally – and displace – literally – our received ideas of the ‘human’. [5]

Two Works in Detail:

Points in Space (1986) 

As with other Cunningham productions, on a first viewing Points in Space may not appear to represent anything beyond movement for its own sake. Clear, uncluttered and airy the 12 dancers enter and exit the stage, pass in front of us, hover or linger for a while and then suddenly set off on a journey as though summoned by an invisible command. The work has both male and female dancers in abstract figure-hugging units which are varied in color and texture. ......  As with other Cunningham productions, on a first viewing Points in Space may not appear to represent anything beyond movement for its own sake. Clear, uncluttered and airy the 12 dancers enter and exit the stage, pass in front of us, hover or linger for a while and then suddenly set off on a journey as though summoned by an invisible command. The work has both male and female dancers in abstract figure-hugging units which are varied in color and texture. ......

According to the linguistic code, the title Points in Space is a symbol or sign proper yet it also provides indexical signification in the way that it is an indicator of the quality of spatiality of Cunningham’s choreography. He has long been preoccupied with the specificities of movement in time and space taking particular inspiration from Albert Einstein’s theory that ‘there are no fixed points in space’ (Cunningham in Jowitt 1988, 289–90). ......

Whilst the spatial signifiers are of major importance, I am more interested in the dancers as signifiers because at first glance they seem to represent nothing other than an elite group of athletes. Yet there is something animalistic in the tendency for them to form themselves into groups only suddenly to break apart and go off on their own or in pairs, eventually coming together again in unison passages of dance. These images are indexes for various aspects of wild life such as herds of animals forming, reforming, or quietly grazing, but each creature is alert to the other and to their environment. At other times, the dancers are iconic indexes because they resemble flocks of birds – suddenly arriving in the space, testing their wing span as one arm stretches endlessly away from the other across a widely extended scapula. ......

In Points in Space, the natural world is indicated through a combination of indexical and iconic signs springing from the often intense, noisy activity of the dancers’ feet pounding against the floor or beating against each other. These sounds and images are almost pure icons of birds noisily swooping and flapping over sudden discoveries of food or settling on a nest. Such flurries of complex footwork are followed by periods of calm when dancers form companionable resting groups, an index of social cohesion, a quality that humans share with some animal species. At other times the dancers become air-borne creatures that soar and hover but make little attempt to land noiselessly. Cunningham dancers do not defy the pull of gravity – they are earthbound human beings perfectly attuned to their environment or habitat and secure in each other’s company. [1]

Pond Way

One of Cunningham’s nature studies, Pond Way evokes the trickling affect of water, as the dancers move in wave like motions across the stage; timing the movements so that one begins just after another. The movement was inspired by Cunningham’s childhood game of skimming stones over a pond. Suzanne Gallo designed the costumes–loose fitting white tops and pants. [6]

In Pond Way, the lighting suggests both naturalistic and artificial effects: ‘the shifts from warm to red side lighting, designed by David Covey . . . subtly suggest the passage of a day . . . the shifting patterns are very like the large and small black circles that form the suggestion of an image in the white canvas behind the dancers’ (Dunning, 1998). For this dance, Cunningham asked Roy Lichtenstein to make a backcloth in the style of the paintings in his recent exhibition of ‘Landscapes in the Chinese Style’ (influenced by Edgar Degas’ landscape monotypes). Lichtenstein died before executing this commission, but his widow allowed Cunningham to select a painting to be used for the dance (Vaughan, 1998: 21). As Tresca Weinstein points out, this backdrop (‘Landscape with Boat’) and the unusual shapes created by the costumes, which can make the dancers’ bodies suggestive of insect-like forms, create interesting tensions and interactions between natural elements and computerized patterns. ‘The play between mechanics and nature is reflected in the costumes and décor for the piece. A dot-matrix Roy Lichtenstein landscape emphasizes the sense of data being endlessly processed, while Suzanne Gallo’s draping costumes suggest wings or extra sets of limbs’ (Weinstein, 1998). [5]

Bannerman, Henrietta. Movement and meaning: an enquiry into the signifying properties of Martha Graham’s Diversion of Angels (1948) and Merce Cunningham’s Points in Space (1986). Research in Dance Education, 2010.

Cunningham, Merce. Four Events That Have Led to Large Discoveries. Merce Cunningham Trust. http://www.mercecunningham.org/merce-cunningham/mc-writing-text/params/textID/9/ 

Kam, Vanessa. Merce Cunningham: In conversation with John Rockwell. Stanford Presidential Lectures in the Humanities and Arts, 2005. https://prelectur.stanford.edu/lecturers/cunningham/ 

Noland, Carrie. The Human Situation on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression. Dance Research Journal,2010.

Reynolds, Dee. Displacing ‘Humans’: Merce Cunningham’s Crowds. http://people.brunel.ac.uk/bst/vol0101/DEEreynolds.htm 

Pond Way, 1998. Merce Cunningham Trust. http://www.mercecunningham.org/index.cfm/choreography/dancedetail/params/work_ID/164/ 

Feature: Merce Cunningham and Lifeforms. London Dance, 2008. http://londondance.com/articles/features/merce-cunningham-and-lifeforms/ 

[lewiskdavid90]

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[lewiskdavid90]

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Performance optimization. Editor plugins or modifications. Physics engine modification*

* Separate mini-course to cover these this now available.

Anyone who wants to learn to create games: Unity 3D is a fantastic platform which enables you to make production-quality games. Furthermore these games can be created for Windows, MacOS, iOS (even iOS 9), Android and Web from a single source!

If you’re a complete beginner, we’ll teach you all the coding and game design principles you’ll need. If you’re an artist, we’ll teach you to bring your assets to life. If you’re a coder, we’ll teach you game design principles.

Note: access to this course comes with an optional, free community site where you can share games and 3D models, as well as connect with other students.

Dive in now, you won’t be disappointed!

Full details Learn C#, a powerful modern language. Develop a positive attitude to problem solving. Gain an excellent general knowledge of game creation. Learn how object oriented programming works in practice. Transfer your knowledge to .NET, other languages, and more.

Full details Competent and confident with using a computer. Artists who want to learn to bring their assets into games. Some programming experience helpful, but not required. Complete beginners who are willing to work hard. Developers who want to re-skill across to game development.

Full

Reviews:

“Thorough, well laid out and easy to follow. This offers a wealth of information on Unity, C#, game development techniques and other related tools. Plus its pretty easy to gear your game toward any platform (iOS, Android, web, etc.). All without overwhelming me as I can come back to any area and move at my own pace. I would note it’s important to use the Unity version stated, unless you have some experience in this, as I began using a more recent version about halfway through the course and it does require me to convert some of the original course code (I’m not through the last course sections so it’s possible those are using a newer version, not sure yet). Regardless of version changes this is worth it for how much is covered and by the end you should know enough that a new version of Unity/converting some code will not be too difficult. Side note: I got my 16 yr old to follow along for portions covering games he found interesting…great opportunity to learn coding in a fun way. Although I was able to help him through problems before getting stuck too long and giving up. (As most teens are not patient!)” (Polly)

“Course is awesome under any point of view, it leaves out some more advanced and fundamental concepts like multiplayer and networking though. It’s totally worth it anyway especially if you are a beginner, and also pretty useful for intermediate students as well. I am at a pretty advanced level and I just wanted to get a grasp of unity which I had never used before and I gotta say that this was awesome for learning how to master it. Only negative point is that the course should go more in depth on advanced stuff because I believe people will be capable of getting stuff like networking towards the end of this, it’s overall good though.” (Daniel Grieco)

“Thanks for awesome course! I found this course really engaging, it even encouraged me to go and get my Computer Science degree! The course starts with basics of C# and unity, from really simple projects (at first they were too trivial to me, but only then I have realised that they just cement the basics of C#’s language), and then throws at you some chunky other projects which teach you various aspects of Unity and C#. What i felt in the end was a slight regret that we did not cover everything Unity Engine has to offer, but that is for us to explore and probably even monetize! Knowledge gained here totally has usage in for example Unreal Engine. When you combine it with other courses you get extreme flexibility in terms of creating your totally own games! TL;DR: This course is meant for all begginers and game-maker wannabee’s like me and probably a lot of other people! Thanks again guys and keep on with the good work! Jakub” (Jakub Duchniewicz)

  About Instructor:

Ben Tristem Sam Pattuzzi

Hi, I’m Ben. I have a degree in computing from Imperial College London, and a physics diploma from the Open University. I started working for myself at the age of 15, and never looked back. I explored careers as varied as being a commercial pilot, stunt-man, rock climbing instructor, and more. None of these provided a continued challenge, and stable income in the same way technology does. After building and selling a home computer support business, I became an angel investor and business mentor here in Cambridge UK. I fell in love with teaching game development through one of my investments, and I now spend all of my time sharing my passion with people like you. I can’t wait to help you experience the fulfilment, and financial freedom, that having a deep understanding of technology brings. So why not start learning to make games with me and my team now? See you soon! Ben

I wrote my first game when I was 14 and ever since, programming has been a key part of both work and play in my life. I studied Computer Science at the University of Cambridge where I still teach undergraduates. When I’m not teaching, I’m a freelance software engineer and enjoy my work with tech start-ups and social businesses. For me, Udemy is the opportunity to combine my passions for teaching and programming.

Instructor Other Courses:

Automate Blender with Python – Give Yourself Superpowers Ben Tristem, Best-selling Instructor, Game Developer, Online Entrepreneur (36) $10 $95 Pass the Unity Certified Developer Exam – Lifetime Access Ben Tristem, Best-selling Instructor, Game Developer, Online Entrepreneur (439) $10 $195 How To Get A Job In The Video Game Industry The Unreal Engine Developer Course – Learn C++ & Make Games Pass the Unity Certified Developer Exam – Lifetime Access Make VR Games in Unity with C# – Cardboard, Gear VR, Oculus …………………………………………………………… Ben Tristem Sam Pattuzzi coupons Development course coupon Udemy Development course coupon Game Development course coupon Udemy Game Development course coupon Learn to Code by Making Games – The Complete Unity Developer Learn to Code by Making Games – The Complete Unity Developer course coupon Learn to Code by Making Games – The Complete Unity Developer coupon coupons

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