A physicist claims to have created a sonic black hole to observe Hawking radiation and its quantum weirdness, all within the safe confines of his laboratory.…
“All my friends told me not to film with you. But whatever,” Hank grumbles. Hank Vogler, a Nevada sheep rancher, is in the fight of his life to protect his water rights from being snatched up by a distant city, laying waste to all he has created.
Hank has spent over 40 years here in Spring Valley, Nevada, a large tract of desert land on the central eastern side of the state. He's grown his ranch from two cows and seven sheep to a large operation with sheep herds scattered around this massive landscape. The size and influence of his ranch pales in comparison to his nemesis however, the Southern Nevada Water Authority (SNWA), the governing body for water in Las Vegas.
In the late 1980s SNWA began researching how to get more water to the city. As the population of Las Vegas swelled, they needed to find alternative ways to procure water. One of those methods sent engineers north to the sparsely populated desert to develop new supplies of water.
Hank is one of the people sparsely populating the desert, and he needs every drop of water he has. As he told me, he doesn't have title to enough water to fill a swimming pool in Las Vegas. His livelihood depends only on small springs and seeps in the hills. SNWA carries a big check book, however, and many of his neighbors have been unable to resist the hefty purchase fee frequently being offered at double and triple the going value.
SNWA has scooped up dozens of ranches in the area, hoping to collect enough water rights to build a pipeline to Las Vegas, nearly 300 miles away. In the interim, as SNWA needs to manage the ranches around Spring Valley, Hank has found a target on his back. His outspoken opposition to the water transfer scheme has made living in his community difficult, causing poor relations with neighbors, and the knowledge that at any moment they could turn on the pipeline and suck all the water out from underneath him.
This drives Hank to do everything in his power to protect his way of life, even if it means talking to a filmmaker from Washington, D.C..
The Water Is for Fighting project documents the challenges facing our nations freshwater resources. Corey Robinson is a filmmaker and Young Explorer Grantee collecting these stories through film, still pictures and words.
Follow along with @coreyrobinson #w4f2015
“Whisky is for drinking, water is for fighting.”
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Asharq Al-awsat English | Artificial Intelligence Swarms Silicon Valley on Wings and Wheels Asharq Al-awsat English The new era in Silicon Valley centers on artificial intelligence and robots, a transformation that many believe will have a payoff on the scale of the personal computing industry or the commercial internet, two previous generations that spread ... and more » |
Niantic, the developer behind Pokemon Go, is clamping down on cheating with lifetime bans for players who violate the game's terms of service.
In a statement on its website, Niantic announced users can be banned for falsifying locations, using emulators, modified or unofficial software and accessing Pokemon Go clients or backends in “an unauthorised manner”.
GPS spoofing enables players to trick the game into thinking they are in different regions, helping them to pick up rare Pokemon currently unavailable in their locality. Bots, meanwhile, let players automate portions of the game.
As the Verge reports, players can appeal the ban using a form on Niantic's Pokemon Go website.
Niantic said: “Our goal is to provide a fair, fun and legitimate game experience for everyone. We will continue to work with all of you to improve the quality of the gameplay, including ongoing optimization and fine tuning of our anti-cheat system.”
Hundreds of users have taken to Reddit to try to unearth Niantic's strategy, but it's not yet clear how the developer detects foul play.
The Guardian has reported that a number of bot developers had been sent cease and desist orders.
Necrobot, a premium service for account farming, said: “Due to legal action being started against other bot creators and developers (we did not receive a letter yet) the project development will be stopped. All source files/downloads will be removed.”
The latest crackdown comes after a number of third party Pokemon mapping sites were shut down last month.
The move coincided with the removal of the nearby tracking feature, which has since been updated, and frayed relations with the game's community.
Pierre Francois Mechain Scientist of the Day
Pierre-Francois Méchain, a French astronomer, was born Aug. 16, 1744.
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Image: Anat Mirelman et al/The Lancet
Virtual reality might currently be best known for its applications in gaming and porn, but some researchers have found a more noble use for it: teaching old people not to fall over.
Researchers led by Anat Mirelman at the Tel Aviv Sourasky Medical Center found that using a combination of a treadmill and VR to train older people who were at high risk of falls was effective at keeping them on their feet. The people who had this training had 42 percent fewer falls in the six months following the training than a control group who just had treadmill training.
“Virtual reality enables us to safely train both the motor or gait aspects that are important for fall risk, while also implicitly teaching the participants to improve the cognitive functions that are important for safe ambulation,” Mirelman told me in an email. “It also has the advantage of being a game that encourages participation and compliance. Our subjects were always motivated to continue to do better, and avoid more obstacles.”
To do the study, which was funded by the European Commission and published in The Lancet, the researchers recruited around 300 people aged 60-90 who had fallen at least twice in the previous six months. About half got six weeks of training on a treadmill, while the other half got training on a treadmill with a “non-immersive” VR component—a screen in front of the treadmill showing a simulated environment with paths and obstacles, with the subject's feet included via a modified Kinect camera.
Here's a video of a participant in the VR group in the first week of training:
And here's the same participant in the last week of training:
Mirelman explained that they didn't want to use immersive VR tech such as a headset because of the risk of cyber-sickness in the older population, and because the whole point was to teach people how to walk safely in reality. “With immersive systems, specifically headsets, it is quite difficult to walk without the feedback of the real world,” she said.
While this study was done one-on-one with the participants, the researchers hope that the training could be replicated in clinical practice. “The study showed that this type of training is effective and we think it can be administered in community gyms and rehabilitation clinics,” said Mirelman.
She added that they were surprised by the adherence and motivation of the participants, which suggests that people might be willing to take it up. Call it gamification of elderly care.
When Amazon first started making original series, it had a gimmick: The internet's very own big-box store would put the first episodes of potential series online so viewers could vote on which ones would become full-fledged series. The gambit made the obligatory tech-company gestures at transparency and disruption, but it also reflected the paucity of Amazon's initial series, a batch of pilots that, excepting Alpha House, barely looked professional. When a network is making such larkish TV, it hardly matters what goes and what doesn't. In the few years since, as Amazon has gotten more serious about making television, it has continued to put pilots online early, but viewer response is barely relevant: The network is going to greenlight what it is going to greenlight, apparently having discovered that disrupting the television business sometimes involves doing things the old way.
Earlier this summer, Amazon released pilots for two hourlong series: The Interestings (flawed, but promising; not yet picked up) and The Last Tycoon (very bad; picked up). This week, it is releasing pilots for three half-hour series: Jean-Claude Van Johnson, The Tick, and Jill Soloway's I Love Dick, the headlining act of this trio. Liberally adapted from a beloved cult novel by Chris Kraus, I Love Dick stars Kathryn Hahn as Chris, a stymied filmmaker who travels with her husband Sylvère (Griffin Dunne) to Marfa, Texas—where she, and then they, become infatuated with Dick (Kevin Bacon, smoldering), a macho intellectual and part-time cowboy who runs an institute Sylvère is attending. I Love Dick has potential, but it doesn't need it: Soloway, the creator of Transparent, is Amazon's most important creative asset. If you are a network, you give her what she wants, including another show.
Soloway told New York magazine, in a piece about the show, that she identified with Kraus' choice to use her own name and biography in her work. “I only want to write about somewhat unlikable Jewish women having really inappropriate ideas about life and sex,” Soloway said. I Love Dick delivers on those interests. The pilot reflects many of Soloway's strengths—her naturalistic skill with actors, her ability to capture bourgeois social milieus with a detail (in this case, fluorescent-yellow Birkenstocks), her dedication to exploring gender politics in ways that don't turn her shows into lectures—but it doesn't have the instantaneous hook or heart of Transparent.
I Love Dick, the novel, is epistolary. I Love Dick, the show, is framed by letters Chris has written to Dick. “Dear Dick, every letter is a love letter. It started in New York,” Hahn says in harried voiceover at the start of the show as the block text dramatically appears on an all-red screen. But turning the novel into a TV show takes it out of Kraus' character's head in a way that alters the texture and tone, losing some of the hothouse intensity of the novel. Television does a great close third-person, but it is very hard, if not impossible, for it do first-person, even when using first-person narration. (Recently, Mr. Robot has made some attempts.) With TV, you're always watching from the outside. The world that Chris and Sylvère inhabit in the show automatically feels bigger, more populated, and more concrete than their world in the novel, simply because you can see all the people in the shot that the writing might have ignored. The pilot also introduces characters who are not in the book at all. Also not in the book: Marfa. Soloway decided to set the show there after visiting her girlfriend, the poet Eileen Myles, there, and deciding it would be a good cross-cultural canvas to help broaden the novel's scope.
There are people who have a hard time watching Transparent because they find the Pfeffermans too excruciating. On Transparent, Hahn's Rabbi Raquel, the on-again, off-again love interest of Josh Pfefferman (Jay Duplass), works like aspirin: Raquel is so grounded, so sane that she lessens the pain of watching the Pfeffermans mess up their lives. In I Love Dick, Hahn, fantastic in everything she does, gets to play the headache. Her Chris has a big, blowsy personality: caustic, dramatic, and self-sabotaging. But she has that Pfefferman-esque charisma. When she spots Dick at a party—Kevin Bacon wears a white T-shirt as well as he did in Footloose—and expresses her attraction by jabbering about how remarkable it is that he goes by “Dick” and not Richard or Rick or Richie, her allure is nonetheless plain to see.
In the show's climactic scene, dinner at a restaurant, Dick asks Chris what her movie is about. “It's about a couple, or I would say the woman in the couple, she represents all women, and society's crushing expectations,” she says. “Sounds horrible. Sounds like you're crushed by someone,” Dick replies, before turning to Sylvère and asking if Chris' film is any good. The great thing about Soloway's work is that she herself is both Dick and Chris, a woman interested in society's crushing expectations of women but also talented and funny and wise enough to know you need character and plot and entertainment and complications to tell that story—that you need people, not symbols. You need a blowsy New Yorker who rolls into Marfa in a jumpsuit and neon Birkenstocks with her own unhinged plans about what to do with a lustworthy macho intellectual cowboy named Dick.
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