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Project briefs as well as guidelines and requirements can be viewed and downloaded at the NCCA website. This has long been commented on, and is responsible for the prevalent thought (at least among the general public) that the more realistic the artwork, the more a man-made creation looks like a nature-made one, the better it must be. The ancient praised the lifelike naturalism of painters, with Pliny relating the famous story of a duel between two artists, one of whom was able to fool a bird into swooping in to peck at his painted grapes, whereas the other was able to fool the first artist, tricking him into trying to pull aside a curtain that was, in fact, his painting of a curtain. Fooling a human trumps fooling an animal, and the ability to inspire awe, wonder, the “how-did-they-do-that” expression, has long been the goal of most traditional art. Think of a tale of Pygmalion, in which an ivory sculpture of a naked woman was so realistic, and its sculptor’s love for it so strong, that it actually came to life. And so it is with robots, particularly the latest generation of Artificial Intelligence, which strives for a human-like appearance, yes, but also an ability to make human-like decisions and responses. From films like “Ex Machina, ” “AI” and “I, Robot” to the AI that lives in our pockets and living rooms, like Siri and Amazon Echo, we want artificial intelligence to feel lifelike. If we cannot explain why, if the illusionism feels too real, it can frighten. Perhaps the most famous of a sculpture come to life, a historical robotic AI conundrum, was a man-shaped machine called The Turk. This invention took 20 years to produce, and used bellows of the sort that would stoke a fire, reeds from bagpipes, the bell of a clarinet and other components to produce sounds on demand that were reminiscent of human speech sounds. The automaton appeared to move on its own and consider its human opponents’ chess game, reacting appropriately and winning most of its matches during its existence, in constant use (it was destroyed in a fire at a Philadelphia theater, which damaged the neighboring museum in which it was stored, in 1854). The Turk was victorious against several famous opponents, including Benjamin Franklin and Napoleon Bonaparte. The automaton was designed with a stage magician’s style in mind, for viewers would logically think that there might be some human hidden inside.

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Take half-a-dozen shows, from the 1970s to the late 1990s, about war, police violence, manipulative politics, the news business, or even human society as seen by outsiders. Originally a book about the droll experiences of an American combat medic and his colleagues in the Korean War, it was turned into a hit film, which, in turn, inspired the iconic TV series with its ensemble cast. With its mood shifting from silly to sombre or vice versa, the quirky characters, their escapades and some spirited dialogue, it enabled the message to be more effective. Determined women resistance operatives (both Gaullist and communist), venal German officers, a British secret agent masquerading as a French policeman despite his mangled pronunciation and the like round out the cast. While powered by visual gags, it is also driven by its farcical situations and dialogue (including in ridiculous accents) that could come out well in print. This may be through sheer luck, brute force (levelling a building with a bazooka to get a sniper), or rather, the aid of his more intelligent and sophisticated and restrained partner Detective Doreau (Anne-Marie Martin). Apart from taking on politicians of all hues (a number of real ones including Neil Kinnock made guest appearances, the show, created by Andy Hamilton and Guy Jenkin, also deals with egos of journalists and their antics in the field, the creeping trend towards tabloidisation, commercialisation and corporatisation of news, and the wicked, black banter between journalists, who are exposed to a lot of bad news first hand on a daily basis. The Viceroy’s House version of India’s partition brings fake history to screen. It’s a Hollywood film like James Cameron’s Titanic, in which fictional characters inhabit a crowded landscape of real people and real events, some of the most dreadful in the 20th century’s history. Reality is always more complicated than any film has the time to allow. A ripple of distaste and incomprehension crosses the audience at the thought that such a hideous chapter in European history should be so irresponsibly treated, as if it were no more than “material” to be bent to the director’s whim. Mass violence and death, startling cruelty, hunger, disease, homelessness: all these accompanied India’s liberation from British rule. Was it the inevitable outcome of the imperial policy identified by its opponents as divide-and-rule.

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For instance, it just so happened that the last person to publish a major book on the steppe tribes (in this case, the Huns) had been Bernstam himself. But Bernstam’s fate showed just how precarious an existence Soviet scholars led, no matter their subject. Like Bernstam, Gumilev would be subjected to withering criticism from his colleagues in history departments. The arguments Lev was making were rather radical and most unorthodox (and quite possibly wrong), and a few months after Xiongnu was published in 1961, a devastating review 118 BLACK WIND, WHITE SNOW appeared in the academic journal Bulletin of Ancient History by one K. But perhaps even more surprising than the strident criticism he received was the praise he got from unexpected quarters. After publication, the rector of Leningrad University offered him a post as senior researcher at the university’s Geographical Economic Institute, and the same year he started lecturing in the historical department of Leningrad State University as a freelance lecturer, and presented open lectures at the USSR Geographical Society. He joined the geography department in the 1960s and still teaches there. I found him in his office one day and asked him about Gumilev: First of all, a lot of people went to the lectures simply to look at Lev Nikolaevich. He was a unique figure, the son of two famous poets, even more so because his father’s poetry was forbidden. Secondly, he allowed himself the liberty to criticize the official positions which the historical sciences at the time had stuck to. In the early 1960s, even before he was ousted from power, life began to freeze over again. It was a signal that the rest of the intelligentsia did not fail to register. But while democracy and reform-minded members of the elite were put back in their boxes by a series of show trials and firings, the nationalists were not.

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This is even more nightmarish than snakes on a plane. The storm that’s bringing near-record flooding to Boston and heavy rain and snow from the Mid-Atlantic to the Northeast has also been an aviation nightmare. Flights have been canceled and delayed across the U. S. Passengers aboard a Canadair Regional Jet (a CRJ2 for my aviationheads) landing in Dulles probably wished their flight had been canceled, too. Assuming the plane was full, that’s 40-50 puking passengers and one disgusting cabin in need of a deep clean. Justin Fenton, a crime reporter at the Baltimore Sun first called attention to the nauseating flight report filed to NOAA’s Aviation Weather Center. It notes that moderate to severe turbulence around 7:38 a. . on Friday morning caused the basically entire cabin to lose its breakfast. Thankfully the cockpit stayed vomit-free and the flight safely landed. “I believe every word of what they said,” Dennis Mersereau, a meteorologist and former purveyor of The Vane (RIP), told Earther. “You feel every little bump on a CRJ2 on a good day.

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