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Ever felt like life just sucker-punched you out of nowhere? That's exactly what Nassim Taleb calls a Black Swan event. Most people think they can predict the future by looking at patterns. They study charts, analyze trends, and feel safe in their little bubble of certainty. However, the biggest events that shape our lives—market crashes, pandemics, breakthrough innovations—are the ones nobody sees coming. .. Taleb argues we're all like turkeys getting fed every day, thinking tomorrow will be the same, until suddenly it's Thanksgiving. The real mind-bender? We convince ourselves afterwards that we "should have seen it coming." This is critical for understanding finance or world events More than that, it's about how your brain tricks you into thinking you understand a world, that's fundamentally unpredictable. Stop trying to predict everything and start building resilience for anything Rebuild your investment portfolio and life plan to deal with shocks Prepare for worst-case scenarios instead of hoping for the best How to Change the World Sam's new show can be found on major podcast players: Spotify - https://open.spotify.com/show/1Fj3eFjEoAEKF5lWQxPJyT Apple - https://podcasts.apple.com/us/podcast/how-to-change-the-world-the-history-of-innovation/id1815282649 YouTube - https://www.youtube.com/@HowToChangeTheWorldPodcast Can't find it on your player? RSS feed - https://feeds.acast.com/public/shows/682b3b86696b5d1232d698a8 ------- UPGRADE to Premium:
✨ Recensione:“ReazioniEmotive” è un gioco da tavolo che si fa subito notare… anche prima di esseregiocato! Appena si apre la scatola, ci si trova davanti a un tripudio di carte,segnalini e pedine sparsi alla rinfusa, come se il gioco stesso volesseimmergerti immediatamente nel turbinio delle emozioni. Nessun divisorio, nessunsacchetto: solo un allegro disordine che, se da un lato può far storcere ilnaso ai genitori più organizzati, dall'altro affascina i più piccoli,trasformando il semplice “sistemare i componenti” in un gioco nel gioco. Lescatole confusionarie sembra che siano una firma della Ludic, la casa editricedi “Reazioni Emotive”.Dalpunto di vista ludico, “Reazioni Emotive” è perfetto per i bambini: leregole sono intuitive, i materiali colorati e le dinamiche favoriscono lacollaborazione e l'espressione emotiva. È uno di quei giochi che non solodivertono, ma stimolano anche la crescita personale, aiutando i più piccoli ariconoscere e comunicare le proprie emozioni in modo naturale e giocoso.Di certo,chi spera di trovare nella scatola un ordine svizzero resterà deluso, ma chicerca un'esperienza viva, colorata e un po' fuori dagli schemi troverà in“Reazioni Emotive” una piccola perla da condividere in famiglia.
“Non chiedermi questo!”: Il party game che trasforma ogni serata in un'avventura di paroleNon chiedermi questo! è un party game ideato da Dave De Vega ed Ermione D'Annunzio, pubblicato da Ludic nella linea “Active Minds”. Questo gioco si distingue per la sua capacità di stimolare conversazioni brillanti e autentiche, ed è ideale per serate fra amici, riunioni di famiglia o eventi sociali.________________________________________
Games with a medieval setting are commercially lucrative and reach a truly massive audience. Moreover, they can engage their players in a manner that is not only different, but in certain aspects, more profound than traditional literary or cinematic forms of medievalism. However, although it is important to understand the versions of the Middle Ages presented by these games, how players engage with these medievalist worlds, and why particular representational trends emerge in this most modern medium, there has hitherto been little scholarship devoted to them. The Middle Ages in Computer Games: Ludic Approaches to the Medieval and Medievalism (Boydell & Brewer, 2024) explores the distinct nature of medievalism in digital games across a range of themes, from the portrayal of grotesque yet romantic conflict to conflicting depictions of the Church and religion. It likewise considers the distinctions between medievalist games and those of other periods, underlining their emphasis on fantasy, roleplay and hardcore elements, and their consequences for depictions of morality, race, gender and sexuality. Ultimately the book argues that while medievalist games are thoroughly influenced by medievalist and ludic tropes, they are nonetheless representative of a distinct new form of medievalism. It engages with the vast literature surrounding historical game studies, game design, and medievalism, and considers hundreds of games from across genres, from Assassin's Creed and Baldur's Gate to Crusader Kings and The Witcher series. In doing so, it provides a vital illustration of the state of the field and a cornerstone for future research and teaching. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Games with a medieval setting are commercially lucrative and reach a truly massive audience. Moreover, they can engage their players in a manner that is not only different, but in certain aspects, more profound than traditional literary or cinematic forms of medievalism. However, although it is important to understand the versions of the Middle Ages presented by these games, how players engage with these medievalist worlds, and why particular representational trends emerge in this most modern medium, there has hitherto been little scholarship devoted to them. The Middle Ages in Computer Games: Ludic Approaches to the Medieval and Medievalism (Boydell & Brewer, 2024) explores the distinct nature of medievalism in digital games across a range of themes, from the portrayal of grotesque yet romantic conflict to conflicting depictions of the Church and religion. It likewise considers the distinctions between medievalist games and those of other periods, underlining their emphasis on fantasy, roleplay and hardcore elements, and their consequences for depictions of morality, race, gender and sexuality. Ultimately the book argues that while medievalist games are thoroughly influenced by medievalist and ludic tropes, they are nonetheless representative of a distinct new form of medievalism. It engages with the vast literature surrounding historical game studies, game design, and medievalism, and considers hundreds of games from across genres, from Assassin's Creed and Baldur's Gate to Crusader Kings and The Witcher series. In doing so, it provides a vital illustration of the state of the field and a cornerstone for future research and teaching. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Games with a medieval setting are commercially lucrative and reach a truly massive audience. Moreover, they can engage their players in a manner that is not only different, but in certain aspects, more profound than traditional literary or cinematic forms of medievalism. However, although it is important to understand the versions of the Middle Ages presented by these games, how players engage with these medievalist worlds, and why particular representational trends emerge in this most modern medium, there has hitherto been little scholarship devoted to them. The Middle Ages in Computer Games: Ludic Approaches to the Medieval and Medievalism (Boydell & Brewer, 2024) explores the distinct nature of medievalism in digital games across a range of themes, from the portrayal of grotesque yet romantic conflict to conflicting depictions of the Church and religion. It likewise considers the distinctions between medievalist games and those of other periods, underlining their emphasis on fantasy, roleplay and hardcore elements, and their consequences for depictions of morality, race, gender and sexuality. Ultimately the book argues that while medievalist games are thoroughly influenced by medievalist and ludic tropes, they are nonetheless representative of a distinct new form of medievalism. It engages with the vast literature surrounding historical game studies, game design, and medievalism, and considers hundreds of games from across genres, from Assassin's Creed and Baldur's Gate to Crusader Kings and The Witcher series. In doing so, it provides a vital illustration of the state of the field and a cornerstone for future research and teaching. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society
Games with a medieval setting are commercially lucrative and reach a truly massive audience. Moreover, they can engage their players in a manner that is not only different, but in certain aspects, more profound than traditional literary or cinematic forms of medievalism. However, although it is important to understand the versions of the Middle Ages presented by these games, how players engage with these medievalist worlds, and why particular representational trends emerge in this most modern medium, there has hitherto been little scholarship devoted to them. The Middle Ages in Computer Games: Ludic Approaches to the Medieval and Medievalism (Boydell & Brewer, 2024) explores the distinct nature of medievalism in digital games across a range of themes, from the portrayal of grotesque yet romantic conflict to conflicting depictions of the Church and religion. It likewise considers the distinctions between medievalist games and those of other periods, underlining their emphasis on fantasy, roleplay and hardcore elements, and their consequences for depictions of morality, race, gender and sexuality. Ultimately the book argues that while medievalist games are thoroughly influenced by medievalist and ludic tropes, they are nonetheless representative of a distinct new form of medievalism. It engages with the vast literature surrounding historical game studies, game design, and medievalism, and considers hundreds of games from across genres, from Assassin's Creed and Baldur's Gate to Crusader Kings and The Witcher series. In doing so, it provides a vital illustration of the state of the field and a cornerstone for future research and teaching. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices
Games with a medieval setting are commercially lucrative and reach a truly massive audience. Moreover, they can engage their players in a manner that is not only different, but in certain aspects, more profound than traditional literary or cinematic forms of medievalism. However, although it is important to understand the versions of the Middle Ages presented by these games, how players engage with these medievalist worlds, and why particular representational trends emerge in this most modern medium, there has hitherto been little scholarship devoted to them. The Middle Ages in Computer Games: Ludic Approaches to the Medieval and Medievalism (Boydell & Brewer, 2024) explores the distinct nature of medievalism in digital games across a range of themes, from the portrayal of grotesque yet romantic conflict to conflicting depictions of the Church and religion. It likewise considers the distinctions between medievalist games and those of other periods, underlining their emphasis on fantasy, roleplay and hardcore elements, and their consequences for depictions of morality, race, gender and sexuality. Ultimately the book argues that while medievalist games are thoroughly influenced by medievalist and ludic tropes, they are nonetheless representative of a distinct new form of medievalism. It engages with the vast literature surrounding historical game studies, game design, and medievalism, and considers hundreds of games from across genres, from Assassin's Creed and Baldur's Gate to Crusader Kings and The Witcher series. In doing so, it provides a vital illustration of the state of the field and a cornerstone for future research and teaching. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture
This episode, we are joined by half of the team behind Decision Space. We talk today about creating a game about how a community interacts with a library, as well as some of the things going on, on the Decision Space podcast. Thank you for listening! Want to join the discussion? Join our discord, and ask us things. Give us suggestions for shows, or topics we should cover! https://discord.gg/efMSGndE Thank you as always for listening!
ETAO PODCAST, EPISODE 178. While the show was taking a break, Drew started putting together some essays on the growing list of recent recent surprise hits—games that, for whatever reason, have been doing vastly better than their developers or publishers had expected. 2024 does, so far, seem to have a sort of serial monogamy to … Continue reading "Palworld: A Ludic Reading and a Luddite Reading"
Probabilities may work in games, but do they translate to real life? When you can recognize the foolishness, you won't get fooled by it! Want to test yourself on how well you can recognize fallacies in real life? Take the Meme Fallacy Quiz! www.filteritthroughabraincell.com/quiz Learn more about Crazy Thinkers: www.filteritthroughabraincell.com/crazy Here's how you can purchase the Logical Fallacies ebook: https://www.filteritthroughabraincell.com/offers/z6xbAcB2 Send me any questions, comments or even the fallacies you're seeing around you! think@filteritthroughabraincell.com Or, tag me on Instagram: @filteritthroughabraincell Sign up on my email list at: www.filteritthroughabraincell.com/contact To take the YouScience Talent Assessment: Website: https://www.wellspentsolutions.com/discoverregistration Get 20% off with discount code FILTERIT20 Thank you to our sponsor, CTC Math! Website: https://www.ctcmath.com/?tr_id=brain Homeschool page: https://www.ctcmath.com/how-it-works/home-school?tr_id=brain Free trail: https://www.ctcmath.com/trial?tr_id=brain Special offer! Get 1/2-off discounts plus bonus 6-months free! https://www.ctcmath.com/purchase/homeschool50?tr_id=BRAIN
On today's podcast we're joined by two founders of Ludic Language Pedagogy or LLP. LLP is an open access academic journal and community focused on publishing actionable ideas on “ludic”, or playful, ideas, and language learning, such as through tabletop RPGs, live action role playing, card games, and video games. For example, recently published papers include “Teaching Spanish with The Legend of Zelda: Ocarina of Time” and “Places, people, practices, and play: Animal Crossing New Horizons here and there.”James and Jonathan are currently writing a book on ludic pedagogy, and they led a session at our recent Conference to Restore Humanity! on ludic teaching that is definitely worth checking out. This conversation centers the distinction of gamification from game-based learning: what's the difference? Why does it matter? How does it apply to teaching and learning?GuestsDr. James York is the editor in chief of LLP and a senior assistant professor at Meiji University, where he teaches and conducts research on the application of games, play and literacy. Dr. Jonathan deHaan is an associate editor and associate professor in the Faculty of International Relations at the University of Shizuoka, who focuses on teaching literacy with games.ResourcesLudic Language PedagogyLLP @ Conference to Restore HumanityPac Manhattan Hosted on Acast. See acast.com/privacy for more information.
Canciones del músico japonés Jun Miyake -con colaboraciones de Arto Lindsay y Vinicius Cantuária- en sus discos 'Innocent bossa in the mirror' ('Cai nessa', 'Gaiato', 'Lista de praias', 'Trejeitos'), 'Stolen from strangers' ('Alviverde', 'O fim', 'Turn back', 'Abandon sight', 'Le mec dans un train' -con San Severino-, 'Est-ce que tu peux me voir' -con Lisa Papineau-), 'Ludic' -que firma a dúo con Sublime- ('Ludic','Tokyo je t´aime'), y 'Lost memory theater act 1' ('Ich bin schön', 'Assimétrica').Escuchar audio
AJ and Ludic discuss abortion on the podcast Date, Sex, and Love. AJ introduces the topic, and Ludic starts off by saying that she has a lot to say on the issue and not to hate her for her opinion. She states that she is pro-life and believes that those who are pro-choice are selfish and not looking at the big picture. They further discuss the implications of abortion, such as the potential for infanticide. They also discuss the impact of abortion on relationships, and how it can have a lasting effect on a couple. They also talk about the importance of making sure that both parties in a relationship are on the same page when it comes to the decision to have an abortion. Ultimately, AJ and Ludic agree that abortion is a difficult decision and one that should be made with care and consideration. This conversation was between two people discussing the topic of abortion and the concept of from the minutes of conception. The person being educated explained that when the sperm meets the egg, life begins and every fetus deserves to live. They spoke about the great people in our world, such as Obama, Marcus Zuckerbeck and Angelique Maya, and how if they had been aborted, the world would be a very different place. The other person suggested that instead of aborting, people should adopt those that want and can't have children. They went on to discuss the idea of giving a second chance to those who have done wrong and even if they repent, they still advocated for pro-life. It was concluded that the other person was totally against abortion. This conversation focuses on the controversial topic of abortion. The person speaking is firmly against it and believes that the woman should deal with the consequences of her decisions. However, the speaker acknowledges that there are certain medical situations where abortion is necessary. They also bring up the possibility of a naive little girl getting pregnant and feeling like she can't handle the responsibility of being a mother. They express that although being a mother comes with physical and emotional maturity, it can be a struggle for the mother to still find time for herself. The speaker ultimately argues that although there are difficult situations where an abortion is necessary, it should not be used in a selfish manner. The conversation focuses on the morality of abortion and the consequences of not being mature enough to deal with the emotions that come with being a mother. The speaker brings up a story of a woman who murdered her child due to depression, a condition known as postpartum depression. They discuss the social welfare system in Nigeria and how it may be able to help a woman in such a situation. The speaker then states that nothing justifies infanticide, even if the mother was raped or involved in incest. They bring up the example of Harry Song, who allegedly was a product of incest, and make the point that no child deserves to die for the wrongdoings of their parents.Timestamps0:00:00Episode 4: Unpopular Opinions on Abortion - Pro-Life vs Pro-Choice0:03:14Heading: Pro-Life Discussion on Abortion0:05:13Discussion on Abortion: Examining the Reasons Behind a Woman's Decision0:07:33Discussion on the Impact of Teen Pregnancy and Incest on Children0:11:47"Advice for Women Who Have Experienced Abortion"0:15:08Discussion on Abortion: Exploring Alternatives to Abortion0:19:00Heading: The Importance of Contraception and Abstinence in Preventing Unwanted Pregnancies0:20:26Discussion on Responsible Sexual Practices and Reproductive Options0:23:07Reflection on a Pro-Life Perspective: A Personal Experience0:26:21"The Risk of Committing Abortion: A Personal Story"0:30:07Discussion on Abortion: Side Effects and Alternatives0:33:35"Uterine Preparation, Abstinence, and Adoption: A Pro-Life Discussion"HighlightsBut if you can't hold yourself again, I would say recap abstinence is key. Abortion is not. Right. I don't agree to it. I'm pro life. If you are scared of the responsibilities of having children, then have the child and place the child for adoption. And you'll be helping someone else that needs a child because children are blessings. And also, what else? Again, if you can't hold your body, you don't want to, whatever.. What else are we going to see?So, yeah, that journey, that feeling was nothing to write home about. So to myself, I'm pro life because you thought the way I was arguing to you back and forth. I argue with it because of the decisions that lead these situations that lead to you or to the woman making the decision of having an abortion. Those decisions should not be ignored. That's my own. They shouldn't be ignored. They shouldn't be discarded.. I feel like we should understand where they are coming from, understand that decision. But yet again, make them to also love the fact that there is a life in them. Even if it's one week or two days, you've still created a life. And that life you've created does not deserve to be punished because of your shame mistake or your mistake. Give the life the opportunity to live. So, yeah, I'm pro life.But then again, like you've said, why then have sex, unprotected sex, if you know you're not ready to have a children? So I think that's really the takeaway the takeaway here today. If you know within your heart you're not ready for the responsibility of another life, you're not ready for the responsibility of taking care of someone else, putting that person first rather than yourself, then don't have unprotected sex.. Don't get into it. Use your contraceptives. Use a condom. Use your contraceptive pills for ladies. Even now they're condoms for women right now. Educate yourself on contraceptives. Don't do pull out game, please. If a guy comes to you and tell you that, oh my God, me my pulled out game is badass, it's a lie, please don't believe that lie. Don't believe the pull out game. Tell him to use a condom. If he's not ready to use a condom, my sister, get yourself appeal. Get yourself a morning after pill.She eventually left the relationship. She left the relationship and she went to take care of herself, make herself be better person. She went to get an education, she learned skills and now she's in a relationship whereby he's about to get married. And yes, she's all up for having a child. She can't wait to have a child because now she's in that mental stability. She's ready to have a child. There are some people that they feel that they are not ready.A family was not really supportive and she knew that she didn't have a good standing to raise a child on her own. So probably, yeah, maybe she should have had the child and give it up for adoption. But she felt that the child deserves better. If she wants to bring a child to this world, the child should deserve better rather than putting the child through hardship or putting the child through hunger and all that. So that was why she decided to have the abortion.
AJ and Ludic discuss abortion on the podcast Date, Sex, and Love. AJ introduces the topic, and Ludic starts off by saying that she has a lot to say on the issue and not to hate her for her opinion. She states that she is pro-life and believes that those who are pro-choice are selfish and not looking at the big picture. They further discuss the implications of abortion, such as the potential for infanticide. They also discuss the impact of abortion on relationships, and how it can have a lasting effect on a couple. They also talk about the importance of making sure that both parties in a relationship are on the same page when it comes to the decision to have an abortion. Ultimately, AJ and Ludic agree that abortion is a difficult decision and one that should be made with care and consideration. This conversation was between two people discussing the topic of abortion and the concept of from the minutes of conception. The person being educated explained that when the sperm meets the egg, life begins and every fetus deserves to live. They spoke about the great people in our world, such as Obama, Marcus Zuckerbeck and Angelique Maya, and how if they had been aborted, the world would be a very different place. The other person suggested that instead of aborting, people should adopt those that want and can't have children. They went on to discuss the idea of giving a second chance to those who have done wrong and even if they repent, they still advocated for pro-life. It was concluded that the other person was totally against abortion. This conversation focuses on the controversial topic of abortion. The person speaking is firmly against it and believes that the woman should deal with the consequences of her decisions. However, the speaker acknowledges that there are certain medical situations where abortion is necessary. They also bring up the possibility of a naive little girl getting pregnant and feeling like she can't handle the responsibility of being a mother. They express that although being a mother comes with physical and emotional maturity, it can be a struggle for the mother to still find time for herself. The speaker ultimately argues that although there are difficult situations where an abortion is necessary, it should not be used in a selfish manner. The conversation focuses on the morality of abortion and the consequences of not being mature enough to deal with the emotions that come with being a mother. The speaker brings up a story of a woman who murdered her child due to depression, a condition known as postpartum depression. They discuss the social welfare system in Nigeria and how it may be able to help a woman in such a situation. The speaker then states that nothing justifies infanticide, even if the mother was raped or involved in incest. They bring up the example of Harry Song, who allegedly was a product of incest, and make the point that no child deserves to die for the wrongdoings of their parents.Timestamps0:00:00Episode 4: Unpopular Opinions on Abortion - Pro-Life vs Pro-Choice0:03:14Heading: Pro-Life Discussion on Abortion0:05:13Discussion on Abortion: Examining the Reasons Behind a Woman's Decision0:07:33Discussion on the Impact of Teen Pregnancy and Incest on Children0:11:47"Advice for Women Who Have Experienced Abortion"0:15:08Discussion on Abortion: Exploring Alternatives to Abortion0:19:00Heading: The Importance of Contraception and Abstinence in Preventing Unwanted Pregnancies0:20:26Discussion on Responsible Sexual Practices and Reproductive Options0:23:07Reflection on a Pro-Life Perspective: A Personal Experience0:26:21"The Risk of Committing Abortion: A Personal Story"0:30:07Discussion on Abortion: Side Effects and Alternatives0:33:35"Uterine Preparation, Abstinence, and Adoption: A Pro-Life Discussion"HighlightsBut if you can't hold yourself again, I would say recap abstinence is key. Abortion is not. Right. I don't agree to it. I'm pro life. If you are scared of the responsibilities of having children, then have the child and place the child for adoption. And you'll be helping someone else that needs a child because children are blessings. And also, what else? Again, if you can't hold your body, you don't want to, whatever.. What else are we going to see?So, yeah, that journey, that feeling was nothing to write home about. So to myself, I'm pro life because you thought the way I was arguing to you back and forth. I argue with it because of the decisions that lead these situations that lead to you or to the woman making the decision of having an abortion. Those decisions should not be ignored. That's my own. They shouldn't be ignored. They shouldn't be discarded.. I feel like we should understand where they are coming from, understand that decision. But yet again, make them to also love the fact that there is a life in them. Even if it's one week or two days, you've still created a life. And that life you've created does not deserve to be punished because of your shame mistake or your mistake. Give the life the opportunity to live. So, yeah, I'm pro life.But then again, like you've said, why then have sex, unprotected sex, if you know you're not ready to have a children? So I think that's really the takeaway the takeaway here today. If you know within your heart you're not ready for the responsibility of another life, you're not ready for the responsibility of taking care of someone else, putting that person first rather than yourself, then don't have unprotected sex.. Don't get into it. Use your contraceptives. Use a condom. Use your contraceptive pills for ladies. Even now they're condoms for women right now. Educate yourself on contraceptives. Don't do pull out game, please. If a guy comes to you and tell you that, oh my God, me my pulled out game is badass, it's a lie, please don't believe that lie. Don't believe the pull out game. Tell him to use a condom. If he's not ready to use a condom, my sister, get yourself appeal. Get yourself a morning after pill.She eventually left the relationship. She left the relationship and she went to take care of herself, make herself be better person. She went to get an education, she learned skills and now she's in a relationship whereby he's about to get married. And yes, she's all up for having a child. She can't wait to have a child because now she's in that mental stability. She's ready to have a child. There are some people that they feel that they are not ready.A family was not really supportive and she knew that she didn't have a good standing to raise a child on her own. So probably, yeah, maybe she should have had the child and give it up for adoption. But she felt that the child deserves better. If she wants to bring a child to this world, the child should deserve better rather than putting the child through hardship or putting the child through hunger and all that. So that was why she decided to have the abortion.
AJ and Ludic discuss abortion on the podcast Date, Sex, and Love. AJ introduces the topic, and Ludic starts off by saying that she has a lot to say on the issue and not to hate her for her opinion. She states that she is pro-life and believes that those who are pro-choice are selfish and not looking at the big picture. They further discuss the implications of abortion, such as the potential for infanticide. They also discuss the impact of abortion on relationships, and how it can have a lasting effect on a couple. They also talk about the importance of making sure that both parties in a relationship are on the same page when it comes to the decision to have an abortion. Ultimately, AJ and Ludic agree that abortion is a difficult decision and one that should be made with care and consideration. This conversation was between two people discussing the topic of abortion and the concept of from the minutes of conception. The person being educated explained that when the sperm meets the egg, life begins and every fetus deserves to live. They spoke about the great people in our world, such as Obama, Marcus Zuckerbeck and Angelique Maya, and how if they had been aborted, the world would be a very different place. The other person suggested that instead of aborting, people should adopt those that want and can't have children. They went on to discuss the idea of giving a second chance to those who have done wrong and even if they repent, they still advocated for pro-life. It was concluded that the other person was totally against abortion. This conversation focuses on the controversial topic of abortion. The person speaking is firmly against it and believes that the woman should deal with the consequences of her decisions. However, the speaker acknowledges that there are certain medical situations where abortion is necessary. They also bring up the possibility of a naive little girl getting pregnant and feeling like she can't handle the responsibility of being a mother. They express that although being a mother comes with physical and emotional maturity, it can be a struggle for the mother to still find time for herself. The speaker ultimately argues that although there are difficult situations where an abortion is necessary, it should not be used in a selfish manner. The conversation focuses on the morality of abortion and the consequences of not being mature enough to deal with the emotions that come with being a mother. The speaker brings up a story of a woman who murdered her child due to depression, a condition known as postpartum depression. They discuss the social welfare system in Nigeria and how it may be able to help a woman in such a situation. The speaker then states that nothing justifies infanticide, even if the mother was raped or involved in incest. They bring up the example of Harry Song, who allegedly was a product of incest, and make the point that no child deserves to die for the wrongdoings of their parents.Timestamps0:00:00Episode 4: Unpopular Opinions on Abortion - Pro-Life vs Pro-Choice0:03:14Heading: Pro-Life Discussion on Abortion0:05:13Discussion on Abortion: Examining the Reasons Behind a Woman's Decision0:07:33Discussion on the Impact of Teen Pregnancy and Incest on Children0:11:47"Advice for Women Who Have Experienced Abortion"0:15:08Discussion on Abortion: Exploring Alternatives to Abortion0:19:00Heading: The Importance of Contraception and Abstinence in Preventing Unwanted Pregnancies0:20:26Discussion on Responsible Sexual Practices and Reproductive Options0:23:07Reflection on a Pro-Life Perspective: A Personal Experience0:26:21"The Risk of Committing Abortion: A Personal Story"0:30:07Discussion on Abortion: Side Effects and Alternatives0:33:35"Uterine Preparation, Abstinence, and Adoption: A Pro-Life Discussion"HighlightsBut if you can't hold yourself again, I would say recap abstinence is key. Abortion is not. Right. I don't agree to it. I'm pro life. If you are scared of the responsibilities of having children, then have the child and place the child for adoption. And you'll be helping someone else that needs a child because children are blessings. And also, what else? Again, if you can't hold your body, you don't want to, whatever.. What else are we going to see?So, yeah, that journey, that feeling was nothing to write home about. So to myself, I'm pro life because you thought the way I was arguing to you back and forth. I argue with it because of the decisions that lead these situations that lead to you or to the woman making the decision of having an abortion. Those decisions should not be ignored. That's my own. They shouldn't be ignored. They shouldn't be discarded.. I feel like we should understand where they are coming from, understand that decision. But yet again, make them to also love the fact that there is a life in them. Even if it's one week or two days, you've still created a life. And that life you've created does not deserve to be punished because of your shame mistake or your mistake. Give the life the opportunity to live. So, yeah, I'm pro life.But then again, like you've said, why then have sex, unprotected sex, if you know you're not ready to have a children? So I think that's really the takeaway the takeaway here today. If you know within your heart you're not ready for the responsibility of another life, you're not ready for the responsibility of taking care of someone else, putting that person first rather than yourself, then don't have unprotected sex.. Don't get into it. Use your contraceptives. Use a condom. Use your contraceptive pills for ladies. Even now they're condoms for women right now. Educate yourself on contraceptives. Don't do pull out game, please. If a guy comes to you and tell you that, oh my God, me my pulled out game is badass, it's a lie, please don't believe that lie. Don't believe the pull out game. Tell him to use a condom. If he's not ready to use a condom, my sister, get yourself appeal. Get yourself a morning after pill.She eventually left the relationship. She left the relationship and she went to take care of herself, make herself be better person. She went to get an education, she learned skills and now she's in a relationship whereby he's about to get married. And yes, she's all up for having a child. She can't wait to have a child because now she's in that mental stability. She's ready to have a child. There are some people that they feel that they are not ready.A family was not really supportive and she knew that she didn't have a good standing to raise a child on her own. So probably, yeah, maybe she should have had the child and give it up for adoption. But she felt that the child deserves better. If she wants to bring a child to this world, the child should deserve better rather than putting the child through hardship or putting the child through hunger and all that. So that was why she decided to have the abortion.
What now in digital transformation? Join Paul Ashcroft and Garrick Jones in a fascinating conversation on digital transformation with Reinier van den Biggelaar, managing partner of BastaGroup and Director Data Science & AI at ORTEC. How can organizations adapt, change, grow and thrive in the digital age? How do microservices and APIs change how we think about software ecosystems? How is an abundance of data changing the way we make decisions and transform our organzations? How is digital transforming service delivery? What is the role of the individual in digital transformation? What is the future of the metaverse? Is hyper-local, NFTs and 3D printing the future of manufacturing? Listen to the podcast today! #whatnow #ludicinsightspodcast #whatnowpodcast #ludicinsights #digitaltransformation #data #future #transformation About the What Now - Ludic Insights Podcast Season 2 WHAT NOW?! is the Second Season of the Ludic Insights Podcast, hosted by Paul Ashcroft and Garrick Jones. “What now” on the current and future trends! “What now” on the huge pivot after the global pandemic! “What now” following the impact of digital on the way we live, work and learn. If you haven't done so already, join in, subscribe and stay tuned to explore the most influential perspectives and conversations. #whatnow #ludicinsightspodcast #whatnowpodcast #ludicinsights About the Ludic Insights Podcast Ludic Insights is brought to you by the Ludic Group, leaders in strategy, engagement and learning. Ludic is a global consulting and design business, enabling clients to accelerate transformation, by engaging people in creating their future, across time and distance. Their award winning SmartLab digital platform and suite of tools, enable organisations to align strategically, collaborate, engage their people and deliver learning, with transformative results. The Ludic Insights Podcast is Produced by Aliki Paolinelis & Edited by Roman Pechersky
Oggi giochiamo a "Dibattito - vince chi convince" di Ludic. Un gioco da tavolo educativo che ci aiuta a sviluppare l'abilità di dibattito e di argomentazione. Dicci chi ha vinto questi tre dibattiti! Link del gioco : https://www.ludicfamily.com/ www.stivaleitaliano.com stivaleitaliano@gmail.com instagram.com/stivaleitalianopodcast tiktok.com/stivaleitalianopodcast --- Send in a voice message: https://anchor.fm/alessandro-ligorio/message
“Embracing the unknown with excitement, I think is what that makes life worth living”, Alper Utku. Join Paul Ashcroft and Garrick Jones in a fascinating conversation on the transformation and future of education with Alper Utku, educational entrepreneur, and lead of the European Leadership University. What are the big trends emerging in education? How can education be made affordable and flexible, available to everyone, anywhere in the world? How do we move beyond the individual and cognitive base of learning, towards social learning? Discover the four-dimensional education model, moving from individual, to cognitive, to social and experiential and the role of adaptive learning. Remote and hybrid is here to stay. What is the future of education and what are the education technologies emerging that will make the shift happen? How will AI assist in this and the impact on the learner? Listen to the podcast today! #whatnow #ludicinsightspodcast #whatnowpodcast #ludicinsights #education #futurist #future #transformation About the What Now - Ludic Insights Podcast Season 2 WHAT NOW?! is the Second Season of the Ludic Insights Podcast, hosted by Paul Ashcroft and Garrick Jones. “What now” on the current and future trends! “What now” on the huge pivot after the global pandemic! “What now” following the impact of digital on the way we live, work and learn. If you haven't done so already, join in, subscribe and stay tuned to explore the most influential perspectives and conversations. #whatnow #ludicinsightspodcast #whatnowpodcast #ludicinsights About the Ludic Insights Podcast Ludic Insights is brought to you by the Ludic Group, leaders in strategy, engagement and learning. Ludic is a global consulting and design business, enabling clients to accelerate transformation, by engaging people in creating their future, across time and distance. Their award winning SmartLab digital platform and suite of tools, enable organisations to align strategically, collaborate, engage their people and deliver learning, with transformative results. The Ludic Insights Podcast is Produced by Aliki Paolinelis & Edited by Roman Pechersky
Anglo-Saxon law codes give us a rare glimpse into the lives of ludic aristocrats. Densely populated Wessex was ruled by a hierarchy of beadledoms, made up of lords, bishops, and elites who dabbled in amusements such as carioca and eminencies. The codes forbid anyone from harming an infant, and provide an unusual perspective on aristocratic infant mortality.
What Now in Innovation? The new ‘What now' Ludic Insights episode is out now, with Larry Keeley, Innovation Scientist and Futurist! What are the big trends? What has emerged from the pandemic that we should pay attention to going forward? What are the opportunities for global innovation? How are people adapting to change? Can we be less fearful and more curious? Listen to the podcast today! What now?! on the current and future trends! What now?! on the huge pivot after the global pandemic! What now?! following the impact of digital on the way we live, work and learn. Hosted by Garrick Jones and Paul Ashcroft Produced by Aliki Paolinelis, edited by Roman Pechersky If you haven't done so already, join in, subscribe and stay tuned to explore the most influential perspectives and conversations. #whatnow #ludicinsightspodcast #whatnowpodcast #ludicinsights #innovation #futurist #future
Should you aim for a maximally "scalable" profession in order to become rich? (Send feeback to erik@mathmutation.com)
We discuss Nassim Taleb's "Ludic Fallacy", the incorrect belief that simple mathematical models accurately predict the real world. (Send feeback to erik@mathmutation.com)
Welcome Mike Nimetz - Project MGR, Coach and host of the LEO Podcast to the show! Mike has a multitude of skills and we talk about the future and how important it is to build community as well as HOW to do it. Mike has a course called Ethical Emergence which brings people together to learn the skills of communication and behavior change. He has a course in my Library on strategy and I'm super happy to be able to introduce him. He is a project manager for Autonomy Unlimited and was one of the organizers of Anarchapulco, Agorapulco and will soon be hosting an event in Acapulco called RESPIRAR ACAPULCO. He's been in Acapulco for the past 7 years building an alternative community based on peace, autonomy and voluntaryism. Find Mike's Podcast here: https://www.bitchute.com/channel/lrvnXobTpGJM/The Raising Excellence Podcast: https://www.youtube.com/channel/UCUV-7zpzwwppq3DxQBYWdVQLearn More About Autonomy here:https://www.universityofreason.com/a/29578/Sj8gMdYHHere's a link to my latest offer:https://bootsy-greenwood.mykajabi.com/reality-reading-roomGet FREE Audiobooks:https://bootsygreenwood.com/storeJoin our free facebook group here:https://www.facebook.com/groups/760024584443824Get on a Discovery call to #getcoached here: https://calendly.com/bootsygreenwood/discovery-callFind Your Life's Purpose with the Path to Purpose Course: https://bootsy-greenwood.mykajabi.com/your-true-you-1Apparel: https://bootsy-greenshop.creator-spring.com/?Add the Public #getcoached event calendar here:https://bit.ly/3mzq7xBCheck out the Contact at the Cabin event here:https://contactatthecabin.com/magic/Amazing introduction music by my friend Oscar Sanchez - give him a follow: https://www.twitter.com/ourworldchangeCheck out all the contributors to Alt Media United HERE:https://altmediaunited.com/all-podcasts/Get my free ebook to learn about the unseen mechanisms of reality and become your most authentic self:https://bootsygreenwood.comSupport the show (http://www.patreon.com/bootsygreewood)
What Now in Design Thinking? The new ‘What now' Ludic Insights episode is out now, with Paul Ashcroft & Garrick Jones in conversation with Danny Seals, expert In Design Thinking and Experience Design across Employee Experience and Innovation. How can design thinking help us be more curious, enable us to solve challenges and create innovative experiences and products? How is design connected to culture and behaviours? How can organisations create impactful change through design? What is the role of digital into the design thinking process? Can we get the same breadth and depth of the physical construction in the digital world? Subscribe today to find out more! What now?! on the current and future trends! What now?! on the huge pivot after the global pandemic! What now?! following the impact of digital on the way we live, work and learn. If you haven't done so already, join in, subscribe and stay tuned to explore the most influential perspectives and conversations. #whatnow #ludicinsightspodcast #whatnowpodcast #ludicinsights
In this episode of Playopolis we hear from urban designer Quentin Stevens about his concept of the ludic city. He has been studying urban play in Melbourne before and during the pandemic, and is interested in the ways in which the city is being reshaped and reimagined. In the second half of the program, we travel back to Japan with research and artist Hugh Davies, to continue exploring the pre-history of the hit augmented reality game Pokémon Go. He takes us back to the practice of shrine pilgrimage in feudal Japan, connecting it with the super popular ‘stamp rallies' that happen across the national rail network.
What Now in Learning? The new ‘What now' Ludic Insights episode is out now, with Paul Ashcroft and Garrick Jones in conversation with Learning Expert David Perring, Director of Research at Fosway Group - Europe's #1 HR Industry Analysts. What's changed in the past 12 months? What is next for Digital Learning? Have we embraced the new reality? What now for digital learning, hybrid learning and high performing teams? How do we optimise work and learning in the flow of work? Subscribe today to find out more! What now?! on the current and future trends! What now?! on the huge pivot after the global pandemic! What now?! following the impact of digital on the way we live, work and learn. If you haven't done so already, join in, subscribe and stay tuned to explore the most influential perspectives and conversations. #whatnow #ludicinsightspodcast #whatnowpodcast #ludicinsights
Cody and Alex review a brand new article! Sparrow, Lucy A., Gibbs, Martin, and Arnold, Michael. (2021). “Ludic Ethics: The Ethical Negotiations of Players in Online Multiplayer Games.” Games and Culture 16(6).
What Now?! The New Ludic Insights Podcast Series is out now with a welcome episode from the hosts, Paul Ashcroft and Garrick Jones, Ludic Co-Founders and Partners and bestselling Co-Authors of ‘ALIVE- Digital Humans and Their Organisations' and ‘The Curious Advantage! “What now” on the current and future trends! “What now” on the huge pivot after the global pandemic! “What now” following the impact of digital on the way we live, work and learn. If you haven't done so already, join in, subscribe and stay tuned to explore the most influential perspectives and conversations. #whatnow #ludicinsightspodcast #whatnowpodcast This podcast is produced by Aliki Paolinelis and edited by Roman Pechersky and Jill-Damatac Futter
Listen With Apple Podcasts Directly: Watch on the LLP YouTube channel: Content In this episode James, and Jonathan interview Fabio Spano and the reviewers of his recent publication in LLP to get the behind the scenes details. The interview format for each article or walkthrough episode is as follows: Introduce the Ludic Introduce the Language Introduce the Pedagogy Give us your proudest moments and takeaways from the project The paper can be read here ◺◺◱ Social media https://www.twitter.com/llpjournal https://www.twitter.com/cheapshot – James https://www.twitter.com/jonathandehaan – Jonathan
In this dialogue I speak to Professor Margarete Jahrmann, the internationally renowned media artist, artistic researcher and games theorist who has just been appointed head of the new department of Experimental Game Cultures at the Vienna University of Applied Arts. Margarete was previously a Professor in Artistic Research at the Vienna University of Applied Arts and was a Professor of Games Design at the Zurich University of the Arts. We discuss how her background in Game Design led her into the realm of Artistic Research; the different ways in which Artistic Research has been taken up across "Europe"; the challenging relationship between games, contemporary art, and commercial game design; her approach to developing the new Experimental Games Cultures programme; and the challenging work which she has been pursuing during the lockdown. Two of Margarete's recent publications, which we discuss in the podcast, are accessible at: Margarete Jahrmann, 2021. Ludic Meanders through Defictionalization: The Narrative Mechanics of Art Games in the Public Spaces of Politics. In: Narrative Mechanics https://doi.org/10.14361/9783839453452-014 Jahrmann M (2021). Ludics: The Art of Play and Societal Impact. In Franke, B. (ed.): NOT AT YOUR SERVICE. MANIFESTOS FOR DESIGN. Birkhäuser Verlag, Basel. pp.319-329. http://www.margaretejahrmann.net/wp-content/uploads/2020/11/manifestos_200910_jahrmann.pdf Margarete's own website, containing links to all her work is http://www.margaretejahrmann.net/
In this dialogue I speak to Professor Margarete Jahrmann, the internationally renowned media artist, artistic researcher and games theorist who has just been appointed head of the new department of Experimental Game Cultures at the Vienna University of Applied Arts. Margarete was previously a Professor in Artistic Research at the Vienna University of Applied Arts and was a Professor of Games Design at the Zurich University of the Arts. We discuss how her background in Game Design led her into the realm of Artistic Research; the different ways in which Artistic Research has been taken up across "Europe"; the challenging relationship between games, contemporary art, and commercial game design; her approach to developing the new Experimental Games Cultures programme; and the challenging work which she has been pursuing during the lockdown. Two of Margarete's recent publications, which we discuss in the podcast, are accessible at: Margarete Jahrmann, 2021. Ludic Meanders through Defictionalization: The Narrative Mechanics of Art Games in the Public Spaces of Politics. In: Narrative Mechanics https://doi.org/10.14361/9783839453452-014 Jahrmann M (2021). Ludics: The Art of Play and Societal Impact. In Franke, B. (ed.): NOT AT YOUR SERVICE. MANIFESTOS FOR DESIGN. Birkhäuser Verlag, Basel. pp.319-329. http://www.margaretejahrmann.net/wp-content/uploads/2020/11/manifestos_200910_jahrmann.pdf Margarete's own website, containing links to all her work is http://www.margaretejahrmann.net/
Daniel talked about a video to help pronounce "Diego Garcian" and it reminded me of this youtube channelYouTube channel launched on April 14th, 2010 with a video instructing viewers how to pronounce ASUS. It continued for years with normal engilsh words, but also did names and brands like Baal, Tutankhamun, Ke$$ha.Some videos gained more notariety, because of the subtle comedy or oddity. in 2012 * The video "How to pronounce GIF" followed the typical format, but substituted the phrase "GIF stands for graphics interchange format"some surreal, like the correct pronounciation for the phrase "please help me escape from this place"July 9th, 2013, Pronunciation Book departed from its regular programming with a video titled “How To Pronounce 77”. Instead of illustrating the correct pronunciation, the voiceover narrates that “something is going to happen in 77 days,” followed by 15 seconds of silence with soft clicks that could be interpreted as Morse code.Next day the video was 76The following days had a different pattern than previous videos:Start with a cryptic sentenceState how many days until when something will happenA cryptic narrative began to form through the intro sentencecaused internet buzz, the whole world wide web was spreading this series of videos in what I'd call an "explosive node" way.Bear Stearns BravoOn September 24th, 2013 Pronunciation Book released a new video titled "How to Pronounce Horse_ebooks," which contains a phonetic reading of the infamous Twitter spambot account @Horse_ebooks and a mysterious message narrated by a woman standing in front of a silver screen.The same day as the Horse_ebooks reveal, the New Yorker revealed Thomas Bender, VP of product development at HowCast as the identity behind Pronunciation Guide and he was running the @Horse_ebooks Twitter account with BuzzFeed's creative director Jacob Bakkila. The two were staging an event to launch of their new alternate reality game project called "Bear Stearns Bravo."Pronunciation ManualOn April 13th, 2011, the YouTube channel Pronunciation Manual launched, offering similar instructional videos. However, these videos intentionally mispronounce the words for comedic purposes. As of July 2013, the channel has inspired other copycat channels including PronunciationPartner and PronunciationPooper while amassing more than 213,000 subscribers and 68.4 million views, averaging 81,600 views per day.horse_ebooksStarted basically as a spam bot, but a Russian web developer, But without the nefarious tactics.Gained popularity as poeticTwitter account that posted nonsense phrases from ebooks about horses, interspersed with spam links."I will make certain you never buy knives again,""We all agree, no one looks cool,""Is the dance floor calling? No,""Everything happens so much""unfortunately, as you probably already know, people."Purchased in 2011 by Bakkila. This change was noticed by the account's followers when, on September 14, 2011, the account began tweeting "via web" instead of "via Horse ebooks", and the frequency of tweets promoting ClickBank significantly dropped while the number of "funny" tweets increased.Alternate Reality Game (ARG)interactive networked narrative that uses the real world as a platform and employs transmedia storytelling to deliver a story that may be altered by players' ideas or actions.Among the terms essential to understanding discussions about ARGs are:Puppet-master – A puppet-master or "PM" is an individual involved in designing and/or running an ARG. Puppet-masters are simultaneously allies and adversaries to the player base, creating obstacles and providing resources for overcoming them in the course of telling the game's story. Puppet-masters generally remain behind the curtain while a game is running. The real identity of puppet masters may or may not be known ahead of time.The Curtain – The curtain, drawing from the phrase, "Pay no attention to the man behind the curtain," is generally a metaphor for the separation between the puppetmasters and the players. This can take the traditional form of absolute secrecy regarding the puppetmasters' identities and involvement with the production, or refer merely to the convention that puppet-masters do not communicate directly with players through the game, interacting instead through the characters and the game's design.Rabbit-hole/Trailhead – A rabbit-hole, or trailhead, marks the first media artifact, be it a website, contact, or puzzle, that draws in players. Most ARGs employ a number of trailheads in several media to maximize the probability of people discovering the game. Typically, the rabbit-hole is a website, the most easily updated, cost-effective option.[4]This Is Not A Game (TINAG) – Setting the ARG form apart from other games is the This Is Not A Game sentiment popularized by the players themselves. It is the belief that "one of the main goals of the ARG is to deny and disguise the fact that it is even a game at all."design principlesStorytelling as archaeology. Instead of presenting a chronologically unified, coherent narrative, designers scatter pieces of the story across the Internet and other media, allowing players to reassemble it, supply connective tissue and determine what it means.Platformless narrative. Stories are not bound to a single medium, but exist independently and use whatever media is available to make itself heard.Designing for a hive mind. While it might be possible to follow games individually, designs are directed at a collective of players that share information and solutions almost instantly and incorporate individuals possessing almost every conceivable area of expertise. While games might initially attract a small group of participants, as the participants come across new challenges they try to find others with the knowledge needed to overcome an obstacle.A whisper is sometimes louder than a shout. Rather than openly promoting games and trying to attract participation by "pushing" it toward potential players, designers attempt to "pull" players to the story by engaging in over-the-top secrecy, have elements of the game "warn" players away from them, and eschew traditional marketing channels. Designers do not communicate about the game with players or press while it is in play.The "this is not a game" (TINAG) aesthetic. ARGs themselves do not acknowledge that they are games. They do not have an acknowledged ruleset for players; as in real life, they determine the "rules" either through trial and error or by setting their own boundaries. Narratives present a fully realized world: any phone number or the email address mentioned works, and any website acknowledged exists. Games take place in real time and are not replayable. Characters function like real people, not game pieces, respond authentically, and are controlled by real people, not by computer AI. Some events involve meetings or live phone calls between players and actors.Real life as a medium. Games use players' lives as a platform. Players are not required to build a character or role-play being someone other than themselves. They might unexpectedly overcome a challenge for the community simply because of the real-life knowledge and background they possessed. Participants are constantly on the lookout for clues embedded in everyday life.Collaborative storytelling. While the puppetmasters control most of the story, they incorporate player content and respond to players' actions, analysis and speculation by adapting the narrative and intentionally leave "white space" for the players to fill in.Not a hoax. While the TINAG aesthetic might seem on the surface to be an attempt to make something indistinguishable from real life, there are both subtle and overt metacommunications in place to reveal a game's framework and most of its boundaries.Inspiration1905 short story "The Tremendous Adventures of Major Brown" by G. K. Chesterton(part of a collection entitled The Club of Queer Trades)seems to predict the ARG conceptWhile investigating a case of assault brought by Major Brown, Rupert Grant, the private detective, and his brother Basil stumble upon the Adventure and Romance Agency, Limited, an agency that creates adventures for its clients.John Fowles' 1965 novel The Magus.young Oxford graduatemoves to greece to teachgets dissolution, meets wealth reclusegets drawn into Godgamesscience fiction novel Triton (Delaney) pub 1976 byThe combination board and card game, Vlet, that many of the main characters in play throughout his novel appears to be a type of ARG.Ludic texts (Ludology is game studies)Choose Your Own Adventure children's novelsReader-influenced online fiction such as AOL's QuantumLink Serial provides a model that incorporates audience influence into the storytelling in a manner similar to that of ARGs, as do promotional online games like Wizards of the Coast's Webrunner games.Other break-the-fourth-wall actions in theater and performing artThe concept has had cultural touchstones throughout post-WWII pop culture.the Beatles' "Paul is dead" phenomenon.the 1997 movie The Game with Michael DouglasEarliest examples of ARG includeWebrunner: The Hidden Agenda to promote "Netrunner"Dreadnotfrom SF Chronicle published at sfgate.com in 1996The game included working voice mail phone numbers for characters, clues in the source code, character email addresses, off-site websites, real locations in San Francisco, real people (including then-Mayor Willie Brown), and of course a fictional mysteryMarketing for the Blair Witch Projectexpanding the world of the movie online, adding backstory, and treating the fiction as reality through real-world media such as fliers and a fake documentary on the Sci-Fi Channel.However, due to the subject material & absence of overt metacommunications that this was fiction, so mor elike a internet hoaxNotable examplesThe Beastmarketing for Spielberg's AI Artificial Intelligencean elaborate murder mystery played out across hundreds of websites, email messages, faxes, fake ads, and voicemail messagesdubbed "the Citizen Kane of online entertainment" by Internet Life,[19] was a runaway successthree million active participants[21] from all over the world during its runAn early asset list for the project contained 666 files, prompting the game's puppetmasters to dub it "the Beast"Portal 1March 1 , 2010 game updategame update now includes 26 radios in the test chambers playing the same default tune that the original radios playedplay Morse code which led to phone numberphone number was to a BBSshow the user ASCII art images and paragraphs quoting Cave Johnsonidle for 4 minutes, "Hey! Please login now. You have one minute left." and if left idle for one more minute the next text will say "Your login time (5 minutes) ran out. Goodbye" disconnecting the user.Portal was updated at another time on two days later "Added valuable asset retrieval". The Portal 1 game ending was expanded to include Chell being dragged back into the facility by the Party Escort Bot saying "Thank you for assuming the party escort submission position" creating the plot for the upcoming game Portal 2.I Love Beesfirst advertised by a hidden message in a Halo 2 traileron the website discovered that the pages appeared to be hacked by a mysterious intelligence. As players solved puzzles, audio logs were posted to the ilovebees.com site which gradually revealed more of the fictional back-storyinvolving a marooned artificial intelligence stranded on Earth and its attempts to put itself back together.CBS made an ARG for Jericho to promote the series in 2007.2016 TV show Mr. Robot, started with a phone number shown on a box in a video clip. Prizes were awarded to the first 509 solversSerious ARGsif ARGs can spark players to solve very hard fictional problems, could the games be used to solve real-world problems?World Without Oilusing collective intelligence, puppetmasters acted as players to guide the "collective imagination" to create a multi-authored chronicle of the alternative futureOctober 2008 The British Red Cross created a serious ARG called Traces of Hope to promote their campaign about civilians caught up in conflictEuropean Union funded an ARG to support motivation for multilingualism within European secondary school students called ARGuing for Multilingual MotivationMeow WolfHouse of Eternal ReturnHouse of Eternal Return has a storyline based on the fictional Selig family, who disappeared after experimenting with interdimensional travel by tapping into a mysterious force known as "The Anomaly" in an effort to bring back deceased family members. This caused the house to fracture open paths to alternate dimensions. A secret government organization called the Charter was able to contain the Anomaly's effects and passes off the containment warehouse as an art installation. Hosted on Acast. See acast.com/privacy for more information.
A tiny Woolworths mix-and-mix of an episode. Barney zips through all the things - mostly gaming related - that have prevented him from putting out anything o er the last month. Joe “Hindsightless” Richter makes this a proper episode by sharing some great thoughts, colourful language and adult themes. Thanks, Joe!
"The Listening Booth marks Juneteenth, Father's Day, and the summer solstice with an It's Basically Summer Mix today, featuring seasonal folk ballads from Emmy The Great, Dark Tea, and Cory Hanson. Also tune in for anthem electro alt from Cartalk and Sacred Shrines, R&B via Alfa Mist and Ludic, and tripper beats with Black Plastique. Plus, new album news from Molly Burch and Half Moon Run as well as post (ish) pandemic shows from Sacred Shrines, Anjimile, and Reed Burnam. 00:00 - Mic Break 01:35 - Mary - Emmy The Great 05:15 - The Rain - Will Stratton 09:07 - Resist the Urge - Matt Sweeney & Bonnie 'Prince' Billy 11:32 - On and On - Half Moon Run 15:01 - Look a Moment Longer - Dillon Warnek 18:04 - Sadder Than A Sunset - Jesse Aycock 22:13 - Paper Fog - Cory Hanson 26:28 - In Your Eyes (Reflection) - Anjimile feat. Jay Som 29:40 - Adelaide - Gabriella Salvucci 32:43 - Mic Break 33:30 - Courage - Charlie Martin 36:12 - Timing - Dark Tea 38:54 - Arroyo Tunnels - Cartalk 41:14 - "And" Life - Halley Greg 44:50 - Earth to Dora - Eels 48:23 - Gold - The Laughing Hearts 52:22 - Home - Teenage Fanclub 59:23 - Solstice - The Antlers 63:10 - The Balcony - Fruit Bats 67:13 - In Standard Definition - Art d'Ecco 70:41 - Mic Break 71:22 - Twisted Up - Ali Barter 74:14 - All Summer - Moonbeau 77:09 - Swimmer - Half Waif 80:13 - Control - Molly Burch 83:22 - Paint The Sky - Sacred Shrines 87:21 - Trail to Find - Sacred Shrines 91:09 - Sleep - Cartalk 94:38 - Mic Break 95:23 - Teki - Alfa Mist 101:10 - If I Could - Native Harrow 104:54 - 40000 ft - Patrick Paige II 107:44 - Ain't Talkin Bout Much - Patrick Paige II 109:28 - The Drop - The Nix feat. Khloe Anna 112:08 - I Bought A New Rug Today - Reed Burnam 114:15 - Myself - Ludic 117:32 - Mic Break 118:21 - African Hair Braiding - Black Plastique 120:01 - Depression Tourist - I Break Horses 122:31 - Finish "
The Ludic Fallacy - https://atlasgeographica.com/ludic-fallacy-explained/ https://curiousworldview.buzzsprout.com/1485736Make certain you are aware and have accounted for each and every variable or else you leave yourself exposed to being prey to the Ludig Fallacy and subject to the Black Swan.--------✍️ Everything I speak about here is going to also available via the written word - access the website here https://atlasgeographica.com/subscribe/Also my interview podcasts -
This week on the Columbo Files! John (on behalf of Antonicus) gives a brief update on why they've been away for so long! Remember, friends: Life finds a way. But sometimes it gets IN the way. We'll be back before you know it!
A freighter on Lake Erie experiences heavy storms. A salvage goes wrong. Conway reminisces about his past, and has a revelation about his present. (CWs: death, dead animal, brief gore, blood, body horror, insects, alcohol, derealization, deep water) Lyrics to "Farewell Song" originally published by Dick Burnett TRANSCRIPT: CONWAY ON THE PHONE: Omens always come in threes. The dead rat on the porch should have been number one with a bullet. I put some water on the range for a pot of coffee yesterday morning. I was looking out the back window at the leftover frost glittering in the pink ribbons of early sunlight. I saw it lying there on the cement and couldn't let it just decay. I went out the back door and looked over the scene. Pretty big thing. Probably lived a nice long life eating from my garbage, all things said and done. It had a serious bite on its leg and its stomach was uh...well you know how sometimes your imagination is worse than anything you actually see? This wasn't one of those times. The kettle bubbled in the kitchen, letting off a trail of steam, and a fly buzzed around overhead. I fixed to move the poor deceased critter. Scooping it up with a shovel seemed awful undignified, though. I rummaged through the kitchen drawers and cabinets. I waffled between a paper bag and a shoe box. The kettle screeched and plumed on the stove behind me. I couldn't just dump the little guy in the trash, so I grabbed my garden trowel and made a small hole in the backyard. I laid the box in the grave, then covered its fur in soft earth. In time, it'll be earth itself once more, and plants will grow from its back that new rats eat. Needless to say, I'm out a pair of tongs and a shoebox now. Yeah, omens always come in threes, but not because of any natural or supernatural law. Humans are real good at pattern seeking, sometimes to our own detriment. It's just that it takes three strokes of bad luck for us to really pay attention; one bad thing--well, it is what it is. Two bad things? That's a coincidence. But three, and now you've a pattern. A chain of events. A story. By then, Kenji'd been missing two weeks, and the angel was still in storage. It'd been a hell of a month. A missing person, an small town, mysterious letters and unexplained occurrences. It all felt a little...familiar. Almost cliche. But I'd been doing this gig for 6 years now and I wasn't about to give up my healthcare over that. Besides they pay me to read, not to think. And so I did read, one last time, for the Dead Letter Office of Somewhere, Ohio. *New introduction music* CONWAY: This is Conway, receiving clerk for the Dead Letter Office of ******* Ohio, processing the national dead mail backlog. The following audio recording will serve as an internal memo strictly for archival purposes and should be considered confidential. Need I remind anyone: public release of this or any confidential material from the DLO is a felony. Some names and places have been censored for the protection of the public. Dead Letter 315, a weathered diary sent to the wife of a ship's engineer. It details the fate of a lost cargo ship called the Oneiros, slated to make a quick trip across Lake Erie in 1913. The entries that contain no pertinent information will be excised from the record. The remaining relevant passages read as follows. NARRATOR: Morning November 6, 1913. Embarking on a short voyage across the Erie, carrying a heavy load of cargo. Some twenty of us boarded the steamer Oneiros, a handsome ship, one of the finest freighters I've seen on the Great Lakes. Most aboard are able-bodied seamen, seasoned hands for the weather ‘sides one of the young cargo loaders, a Patrick, or Phillipe I think. USDA weather bureau noted a brisk easterly front, spots of rain for the upper lakes, calmer waters south. Crew seems in fine spirits despite the chill, the 3000 some gross tonnes of cargo, presumably coal and timber, secured below deck. I'm to look after the engine and its various components. Captain Ludic's a little daffy, assertively old-fashioned. Barking orders like he's a pirate king and we're his swabbies. Could have stepped right from the pages of Treasure Island, beard and all but for his soot black buttoned coat and hat. Seems no quack, though, and certainly knows his way round the ship. He's very particular about his cargo, and ordered that none of us enter the cargo hold unless he gives us his explicit permission. Should be no longer than a day's trip, then two days more before I see you again. It's lonely out here, I can only imagine how dire it is stuck at home alone. I pray that upon my safe return, this log of my activities and thoughts of you more than makes for the time apart. And perhaps then we shall marry. I will be thinking of you fervently. Evening the 6th of November, 1913. I've settled into my berth for the night after we've supped. How I wish you could join me. Captain Ludic took his meal on the deck, and I saw fit to join him. Conversation wasn't exactly enlightening. We took our meat and bread quietly, until a cold drizzle started pattering his old cap. He looked out at the overcast horizon, then he fixed his glazed eyes on me. His hard roll fell from his lap and bobbled across the deck unevenly for a yard before toppling. CAPTAIN LUDIC: “The Witch of Autumn, she's coming for us, lad.” NARRATOR: He spoke softly, and his crooked mouth hung open long after his last syllable. A bit of chicken hung from his scruff. CAPTAIN LUDIC: “The boys in the papers said t'would be calmer southward, but these old bones feel it coming. When my knuckles swell, when my teeth ache, and the heavens themselves break open, the winds carrying droplets of death, the witch will crest the white waves. She'll take us all if we're not vigilant. You mark my words, boy: beware the Witch of the White Squall, and those who would invite her with their careless yearnings. I fear there's one such man aboard now. You keep your heart hard and your eyes open, all 5 of 'em.” NARRATOR: He was panting after this warning. His lone gold incisor glittering among the row of stained teeth as his shoulders rose and fell. Then he burst out in laughter, a wheezing squeal that cut through the wind. He slapped me hard on the back. I spit out my whiskey at the impact and forced a chuckle. Needless to say I won't be spending my dining hours with that walking stereotype again unless I'm yearning for a fairy tale. I figure myself lucky I'll only be in his company for a short time. I can now hear the cold rain impacting the deck above my wool-wrapped womb. And something below in the cargo hold, though I can't tell its origin or purpose. Creaking, maybe footsteps. Perhaps something's come loose and Patrick or Phillipe is checking on it. I'll try not to fret over it. Until I see you again in the flesh, Caroline, I will continue our rendezvous in my dreams. Morning 7th of November 1913. I took breakfast below deck with Phillipe. The rain's still coming down and the wind blows cold, but Phillipe thinks it should clear by afternoon, and by then we'll have gone ashore. Like a bad fever, he says. Just have to wait for the break. The boy's from Montreal, took the rail down, then rode the canal before hauling lumber across the lake. He seems affable and handy enough. He's as wary of the captain as I, and he had some troubling news about our cargo. He's been loading lumber for about 10 months now, certainly not a master of his trade, but he says something was off about our freight. The tonnage is accurate, but one crate in particular severely outweighed the rest. Given the volume of the thing, he's convinced it can't be lumber, or even coal. He asked me if I knew any more about our voyage: who's paying us, where the lumber's going, but I had little to tell him. I'm not one for accounting. He seems concerned that we may be harboring something dangerous, and the captain won't tell us. I'd be inclined to agree. Though I'm not entirely convinced Ludic even knows what's down there himself. Whatever the cargo, we should be seeing the beacon from the lighthouse cutting through the fog any moment now, and I'll just be glad to be off this ship and in your arms. I do grow so melancholy on these trips without you. Evening the 7th of November 1913. We lost Terrence this afternoon. The storm has shown no signs of abating, despite the predictions of the men in the papers. Terry'd gone up top the pilothouse to help the captain navigate, as its windows were awash with rain. The lake was growing angry, waves breaking high as 10 feet. The boat was churning in the drip, swaying to and fro, threatening to take on water. Terrence was calling down directions to the captain when a wave suddenly rose double the height of the others. The ship lurched, and poor Terrence--with naught to hold onto--he was launched backward, slamming his head into the pole behind him. The crew rushed to the pilothouse but another swing of the freighter tossed him overboard. We scoured the waters for some time, until Captain Ludic ended the efforts and sent us to bed like a disappointed father. Still no sign of land. We should have come ashore in Ohio by now, even at our slowed pace. At night, I imagine the two of us together once more, holding hands by the lake. It's only a drean, but...until then. Afternoon 8th of November 1913. CAPTAIN LUDIC: “I think we've got a rat problem aboard this vessel!” NARRATOR: The captain shouted over Neptune's angry bluster. He'd gathered the 19 of us that remained on the darkened deck in the freezing downpour. CAPTAIN LUDIC: “I know one of you's been below deck. Couple of the crates been pried open.” NARRATOR: He had us standing side by side, and walked the line up and down, hunched and frantic, his breath visible in large puffs. CAPTAIN LUDIC: “Who among ye disobeyed yer captain's orders?” NARRATOR: He narrowed his bright eyes. CAPTAIN LUDIC: “Or so bereft were you of a woman's touch that you consorted with the witch? Ye accepted the company of the devil herself onto this freighter? Have ye no sense, lad? Must ye look death in her viscous eye and spit in it? Aye the witch draws near, and she'll scarce be satisfied with you, now she wants the whole crew, and all that we carry. Your base lust has pinned us all to Satan's dartboard.” NARRATOR: He had me and Phillipe take our boots off. He inspected the soles. We were the newest members of his crew, and apparently the least worthy of his trust. Rainwater poured down the front of his cap and trickled off his nose. The engine chugged and the steamer groaned against the bracing waves. He threw my boots back at me, squarely impacting my chest. I stumbled backward on the slippery wood. He stood upright in front of Phillipe and drew a long blade. CAPTAIN LUDIC: “Aye, that's about the size of it. Yes we've got a rat problem aboard this vessel and I aim to remedy it. Do you know what's down there, lad? Do you have any idea what that is we're hauling?” NARRATOR: Phillipe was shaking, shivering. His dark hair was matted, wet and stuck flat to his skull. CAPTAIN LUDIC: “I'll not see it sink to the lake floor. Our cargo is more precious than any coin, or any of you scoundrels and lowlifes with your lascivious thoughts.” NARRATOR: I propped myself up on my elbow, none too eager to draw Ludic's ire. CAPTAIN LUDIC: “White witch, take the boy! Let the thousand tongues of the deep rise and writhe! Let Neptune's breath whip the tide into knives, all cutting wind and choking froth. Come, come on your pelagic locusts, black as the moonless crusted tide. Take him to the sunless fathoms, entombed in barnacles. Stuff his mouth with algae and feed his eye jellies to the worms. Let your nautical insects drink his ichor and sup on his hair. Drag him down, drag him below the surf, where his soul will fester and rust among the reeds, forgotten in the scrap of a hundred ships, a thousand lives, hallowed out and timeless, unmoving as cold pitch. Take the boy who called to you and leave the Oneiros be.” NARRATOR: Spittle dotted his beard. He panted for several tense moments as freezing rain pelted the ship. The engine burbled and the stack belched black fire into the twilight. Then the captain thrust the knife forward, straight into Phillipe's core. I shot upright and charged the captain, but three other crewmen held me back: the captain had a pistol at his side, revealed as his thick coat swung open. Ludic slid the blade upward, gutting the poor lad from neck to navel. He burst like a beached whale onto the deck. The captain roared for someone to tie brick to the corpse and toss it overboard, where it sank unceremoniously out of view. I dreamt of you last night. You came to visit me in the bunk. You leaned over me and gently pressed your sweet lips against mine. I felt a jolt through my system and woke up. I shall hardly sleep this evening, and I shall hardly feel a more forceful loneliness in all my days. Afternoon November 9 1913. Mutiny. Of course mutiny was on the lips of half the crewman on this cursed freighter, myself included. The cold rain gave way to thick globs of snow overnight, now stinging in the hurricane winds. The ship is barely remaining upright among the massive waves. Everyone's freezing, hungry, furious. I gathered a few similar-minded seamen and huddled below deck as we planned our next move. The captain has his pistol, but we have numbers on our side. And a few blunt instruments could certainly bash some sense into him if our pretty words can't. This is for Phillipe, for Terrence, and for our miserable woebegone souls. Morning November 10th 1913. I could scarcely see my hands in front of me, nor the plank of lumber I was wielding. I and four others approached the pilothouse, now almost entirely coated in frost and long, sharp icicles. I pounded on the door and demanded to see Ludic. No response. I wrapped the door several more times. Nothing. The men and I shouldered the door open, only to find the wheel jammed the pilothouse empty. We'd been left rudderless by a craven fool. Then the winds fell silent, the snow diminished. The waves began to sink back into the lake. Several of the men aboard took to the lifeboats. They liked their chances better in a vessel they could actually steer now that the storm was clearing. JONATHAN: “It's a sucker's hole.” NARRATOR: One man, Jonathan, confided in me. JONATHAN: "Those buffoons are going to capsize and freeze out there as soon as the wind picks up again.” NARRATOR: I looked around at the frozen steamer. Ice hung from every surface. A westerly wind blew over us. I went below deck to check on the engine. While in the dark of the hold, I heard sleet impact the deck once more. The wind began howling, and the storm proceeded at such a force I could imagine the boat cleaving in twain. Unless we find a way to maneuver or god forbid find any sign of the captain, I'm doubtful we'll make it to shore. I shall be thinking of you even as I draw my final breaths and pray you visit my nighttime musings again. Evening November 11th 1913. I can hardly believe what I'm about to write myself, Caroline, but to the best of my storm-battered and hungry mind, it's true: Captain Ludic was right! The witch came for the Oneiros. I awoke to the sounds of heavy footfalls on deck. My head was hot and I felt a deep chill. Someone was shouting. I shook my hazy head and rose from my berth, coughing. A scream rang out. I crept along the hallway and neared the ladder. A wet, slurping slither, dragging along the ground. I hesitantly peered above. There was a sight I shan't forget for the rest of my life, for as long as that may be. Some manner of creature was on deck, a massive wingless insect with long, segmented legs. It had a small, pointed head and enormous round body, like an monstrous tick. One of the men on board, Jonathan I think, had found a harpoon and launched it at the beast, but it couldn't penetrate the thing's thick hide. It turned the man's direction, and a long, thin tongue unspooled from its head. The pink tendril slithered and writhed on the deck with frightening speed, extending dozens of feet and ensnaring the man. This slimy appendage wrapped around the crewman, tearing his flesh and exposing deep red blood. The beast rushed him, seemingly drawn by the blood. He was screaming, but he couldn't move. The tongue coiled around him, cutting him badly at every point of contact, opening his skin like a rotten orange peel. The giant thing squirmed and lapped at the blood spilling from the poor crewman, whose cries became weaker, quieter now, blending with the fury of the storm until they ceased completely. It pulled Jonathan's head to its mouth and began feasting on the damp strands of his dark hair. From the other end of the steamer, another insectoid rose, its legs clattering over the metal and wood as it climbed onto the deck. It joined its kin, its whip-like tongue probing the air for others to feed on. That's when I saw the pile of bodies behind them, all shredded and drained of their essence, scalps bald and raw. The bloodbugs began patrolling the freighter for stragglers, and it seemed I was the only one left. I fled down the hallway, toward the cargo hold. Whatever the captain had said be damned. I hoped that the strong odor of the pine and coal would mask my own reek. I heard one of the things' legs trying the stairs. I frantically panned the room for somewhere to hide. I spotted a huge crate with a few planks pried off. I wormed my way through the opening and held my breath in the box. I heard the tongues slithering down hall in my wake. I clasped my hands and silently prayed to god with the fervor of a hundred choirs that I'd see you again once more. But my prayer was interrupted by a sound behind me. In the crate I could see a looming shape. *Crackling and rumbling noises, same as in the Lighthouse* A sort of metallic invention, like a massive steam engine. It was smooth, dark, containing strange protrusions and angles unlike anything I'd seen before. It was quietly humming, with an occasional clang or thump. There was something else, too. A fleshy hand reached out into the light filtering in through the missing slats. A hand robed in a dark wool coat. A neck stretched out behind it, attached to a crooked bearded head. It smiled, and a gold incisor flashed in the dim light. I could see that it was Ludic, or part of him anyway. His hands and neck were elongated and stretched beyond man's limitation. His flesh gray and malleable, like putty. My gaze followed his distended arm down to where his shoulder should be, but all I found was iron. He had somehow...melted into the engine, or soldered himself to it. Metal and flesh twisted and fused, stringy skin hanging between folds of steel. I think he tried to speak, but all that came forth was a buzz, an electrical chattering like a broken telegraph. I felt sick, and ran from the crate. I sprinted past the sleeping quarters and up toward the deck. I was hit full force with the blistering might of the storm as I went topside. My eyelashes froze, my nervous sweat crystalized. I could barely see the bloodbugs at the other end of the deck through the blizzard. My vision went completely white as I dropped to my knees, violently ill and nearly frozen solid. Then through the pale wall she stepped, the Autumn Witch, the Woman of the White Squall. She bade her pests retreat, and stood before me. Her skin was glistening, and she wore not a single scrap of clothing to defend against the chill. Her hair shimmered and waved as if she was underwater. Her feet never touch the ground. She brushed her hand against my cheek, and an icy jolt shivered down my back. I looked into her eyes and saw wild, radiant love. A love conjured by a lonely sailor, now requited. A fevered love so bold it would kill. She leaned down close, and I could smell the salt breeze on her breath. She pressed her blue lips to my forehead, and I blacked out. I woke up 12 hours later in the dark, soaking on my back in the falling rain, adrift in the infinite waters of Hades. Morning November 12, 1913. I awoke to a distant horn. I thought it at first a dream, a hopeful hallucination. Then the horn sounded again a second time. I sat upright, shivering and soaked through. I saw a beam of light cut through the rain: the lighthouse! I yelped, a sound as much of agony as celebration, and stood. I laughed, dry and bitter wheezing. The ship was drifting toward the shore after 6 long days in hell. I ran down to gather my things and wrap myself in something dry. Then I ducked into the pilothouse and stared out at the light. A smile dared cross my lips. I could make it after all. Then came a horrible rending, a piercing shriek of metal on rock. The ship lurched, and I tumbled forward in the cabin. I was so enthralled by the beacon of the lighthouse that I'd missed the sharp rocks in the shallows. Now she was sinking, taking on icy water. Metal groaned and beams bent and snapped. The stack chugged and spit wet smoke over the scene. The rear of the freighter began sinking. Among the rocks I saw a lifeboat, the very same from the Oneiros, filled with skeletons picked clean and bleached by the sun. I laughed again, a wailing peal like the whinny of Death's very steed. There may yet be time for rescue, but the frigid waters or the phlegm in my lungs will likely take me before the sailors do. And so I bid you adieu, Caroline. Just one more sob story for another sailor's widow. As trite as Ludic himself. If the intrepid rescuers do happen to find these scrawlings and wish to know my fate, I've gone to join the Captain. CONWAY: Records at the time indicate that several other ships went down in this storm, including several hundred crew, but the Oneiros and its men were never found. Given its contents and its age, the DLO has deemed this diary, DL-315, undeliverable. It will be stored safely in our vault. CONWAY ON THE PHONE: I've been thinking a lot about the past lately. Old friends, old regrets. I suppose it's my approaching middle age catching up onme. My time with the office has been uh...illuminating. All those wild things I saw as a kid? The things my parents sent me to see serious adults about? Well maybe some of them weren't so wild. You know how I started working here? I used to be in public radio, the local affiliate down in Cincy. I studied art when I was in college, but well, that didn't pan out like so many other things. I worked a bunch of odd jobs, making 6 dollars an hour slinging coffee or double that if I was willing to break my back. I eventually got lucky and I guess somebody liked my cadence. I'm sure it helped that the station was underfunded and I was willing to work late and cheap. One day about 6 years ago, two suspicious gentlemen in suits dropped by my little studio on my lunch break. They asked if I wanted a job with the post office. They sure as hell didn't look like mail carriers, looked like stone-cold feds to me. I politely declined, praying the cuffs didn't come out. They just handed me a card. I told them if I was ever out of a job, I'd give them a call. After they left, I looked over the card. No names, no phone number, just three letters: DLO. Next morning, I get a call. Boss says the studio caught fire last night after everybody left. Electrical malfunction. Whole place up in smoke. Not enough money to rebuild or move studios. Just gonna shut down the affiliate station. What a coincidence. I looked at the card again and thought of Lucy. Then I got a call. One more chance to reconsider the offer. Yeah, Lucy and I did almost everything together when we were kids. We were pretty much inseparable, at least until the cave incident. I haven't heard from her in a long, long time. I don't know why I haven't reached out. I guess I was afraid too much time got between us. That I wouldn't know what to say. We might even hate each other now. My memory from that time is a little fuzzy, too, just bits and pieces, blurry impressions. It's funny, I sometimes wonder if I made her up, y'know, like an imaginary friend. Those early memories feel about as real a dream most days. Like something that happened to someone else. Like scenes from a worn out VHS tape. But look at me, I'm rambling again. Back to the story. The teeth should have been the second omen. An unmarked box showed up at the office the same morning as the sailor's journal. I picked up the small parcel and shook it like a kid at Christmas, though my approach was rather more apprehensive. Lifting the folds revealed a jewelry box. I flipped the lid open with a creek of its rusty hinges. Underneath was a mirror long ago marred by the grit and grime of age. The plush interior of the box was covered in dark stains, and it smelled like a wet basement. Sitting in one of the compartments were about a dozen human teeth, dark and worn. One reflected light underneath the others: a crude golden incisor. CONWAY: Dead Letter 18316, an application for worker's comp from ******. The applicant's name has been redacted. Looks like he suffered a leg injury during a salvage job. Included with the application is a photo of the injury and testimony from the worker. His testimony reads as follows: WORKER: I hereby swear upon penalty of perjury that the following statement is true to the best of my knowledge. We were supposed to pull up some cargo from a ship that recently went down in the area. Apparently whatever was in there could leak, causing some serious trouble to the watershed. The algae's bad enough, we don't need some oil spill or toxic waste leak or you know anything like that. We were given permission by the state, and were funded by some tech startup to help clean up the lake. I boarded the boat around 6:50am. I got out to the marked location around 8. I put on my wetsuit, grabbed the hook, and hopped in. I swam down and found the boat we were looking for. I was about to check the cargo hold when something grabbed hold of me. Something bit my leg and pulled me really hard. Must have been some fish. Maybe even a shark. I've heard some bull sharks can live in fresh water for a while. I paddled and kicked, but my leg wouldn't break free. It dragged me some distance, and then let me go. I saw a different ship ahead of me underwater. Much older, covered in rust. I broke the surface and signaled for help. The boys pulled me aboard and the EMT got to work on my leg. Someone else went down to secure the cargo. I tried to tell them it was a different ship but I'm not sure I was making sense. I was in searing pain and losing a good deal of blood. I was looking up past the hanging cables and into the clear sky. Then the wires started moving, waving on their own and spiraling above me. I weakly lifted my hand to point, but the medic just placed it back down and told me to relax. The wires weaved and twisted into form: an angel. Not just like a lady with wings, it was all fingers and eyes and mouths. It told me I needed to find it. That it was in some museum somewhere south of here and needed to be freed. I know it sounds real loopy, but that's what I saw. Someone shouted that they got the cargo up, but it wasn't what we were looking for. I was close to passing out by then of course, so not sure what it was. Then I woke up in the emergency room with a bunch of stitches. CONWAY: Inspecting the photo here, it's a serious injury of the left calf. It's certainly no fish bite. I'm no biologist, but if I had to guess, I'd say the bite is primate in origin. Likely human. Multiple bites overall, very deep punctures and a few tears. I'm gonna send the photo and this box over to the boys in the lab. Maybe they can work out a match. In the meantime, I'll have the higher ups approve his application and send him a nice check, on the condition that he doesn't mention the incident again. We'll be keeping the application letter and associated paraphernalia in our vault. CONWAY ON PHONE: The Midwest is so big, it's sometimes hard to imagine there's anything outside of it. Like I see pictures of the ocean, and that might as well be a continent away at this point. You drive for hours and somehow you're still surrounded by cornfields and flat land. You take an old country route and pass the same intersecting road 3 times. It's like a magic trick. Every time I try to leave, something keeps me here. It's a curse, or maybe that's how I justify it to myself. Believing some paranormal interference is the reason I'm stuck in a rut makes it a little easier to swallow than the reality: the reality that there's a pit at the center of the state, a gravity well that pulls you in and keeps you here. The fire burning forever underground. You can fight it, but you'll always be pulled like the snap of a rubber band back home. There's like a vampiric presence here, a specter of collapsed industry and apathy, poverty and vast distance, that haunts the condemned buildings and provincial small towns of Ohio. There are good people here. Solid folk of all kinds. And there are stories to be told here. But who's listening? And who's allowed to talk? Anyway that's when the last postcard showed up. Just like the ones sent in by the Lost Fisherman from the nonexistent town. The name on the card read Lucy. What a coincidence. But the number beside the name's what shook me, gave me that tingling feeling in my brain that sometimes comes as a corollary to dread. Like twisted deja vu. It was my home phone number from when I was a kid. They disconnected that line ages ago. I thought about calling it, but the DLO was sending me out for one more field trip. A package too unwieldy, too fragile to be shipped out of the tiny post office that was storing it. Of course it was my job once again to drive out to some location and stick my snoot into whatever nonsense they'd cooked up. Of course it was 2 hours away. But I'm nothing if not dedicated to the job, so I tucked the postcard into my shirt pocket, took a swig of cold coffee, and got in the car. CONWAY ON TAPE: --down to a small post office, to check out a very large crate. Apparently it was a little too fragile and a little too um...unwieldy to ship out of that small post office given its resources. Now any time they send me out somewhere like this I'm a little suspicious, so let's find out what I'm about to get my nose in. *click* --the back room here, and it is a fairly large crate, I'll give them that. I've got a crowbar here, let's see if I can get this thing open. *Wood snaps* All right. *Conway coughs* Dear god, it's a body. Oh dear got that is a body. That...that's Kenji's body. That's Kenji. Oh my god. Oh god. And if I...His leg, oh my god. Well, that's those bite marks. Oof. Oh god Kenji, what did you get into. Okay. And he's holding something, he--Kenji's got a hold of a-an all white rotary phone. Old spin dial, you know you gotta twist the numbers around before you can input the number. Oh god Kenji. Based on the decomposition of the body, I would estimate he's been dead for quite some time, though the preservation is uh impressive. Perhaps the sea air or perhaps a mummification process was used on him. But god, lord if it don't stink. Now...gonna pick up that phone and dial this number. *click* CONWAY ON PHONE: Well anyway, that's when I called you. LOST FISHERMAN: “Jeez, that's all fascinating. You've had a quite a ride today. But do you mind if I ask you one thing? I want you to think real hard about this one, don't just blurt out an answer. What's your last name, Conway?” CONWAY: I uhh I don't see what uh...Now wait, now don't you do this. I know who you are, don't you do this. LOST FISHERMAN “I know it's rough, your mind wants to reject it, but I promise it's all gonna make sense. CONWAY: Oh, Ken and Lucy, very clever. You knew I'd tie it together eventually. Now don't you do this. Let me stay here. Let me-- LOST FISHERMAN: “You're not real, not yet anyway.” CONWAY: Let me stay. LOST FISHERMAN: Now I want you to look at your cellular telephone. What time is it?” CONWAY: I can't…I can't make it-- *Dial tone* CRACKLING VOICE ON THE RADIO: If you make the margins big enough, you can see him in the dots and waves. He comes through the wires. He's a frequency, an atom bomb's worth of electricity. ANTONY: She said they're not real, they're just fictional characters. CONWAY: It all felt a little...familiar. Almost cliche. What happens in that missing second every million years? LOST FISHERMAN: We'll be waiting for you at the top of the lighthouse. *Overlapping voices say “this is Conway”* *Scratchy, old folk song, singing the following:* I am a man of constant sorrow, I've seen trouble all of my days; I'll bid farewell to Cincinnati, The place where I was born and raised. For six long years, I've been in trouble No pleasure here on this earth I've found, For in this world I'm born to ramble, I have no friends to help me now. Oh, fare ye well my native country, The place that I loved and loathed so well, Fo-- *record scratching, forest ambience, crickets chirping* Then I was somewhere else. A place I'd heard of but never been. Surrounded by fireflies underneath the canopy of red oak boughs. There was something in the trees ahead. Two glowing spots like headlights in foliage. They were moving, attached to something about a foot taller than me, coming my way through the dark. It strode on long, thin legs bending backwards, like a hulking stork. Powdery wings spread from its back and there was a...skunky smell on the air. And he had something to show me. *lighter flicks several times, drums kick in, jam begins* *forest ambience fading out*
Listen with Apple Podcasts: Listen directly here: Content In this episode, hosts Adam, James, and Jonathan interview Judith Buendgens-Kosten and their students regarding their recent publication in LLP. The interview format for each article or walkthrough episode is as follows: Introduce the Ludic Introduce the Language Introduce the Pedagogy Give us your #humblebrag and takeaways from the project The paper can be read here: https://llpjournal.org/2021/02/08/bradford-et-al-english-escape-walkthrough.html ◺◺◱ Social media https://www.twitter.com/llpjournal https://twitter.com/JudithBK – Judith https://twitter.com/edtechwithadam – Adam https://www.twitter.com/cheapshot – James https://www.twitter.com/jonathandehaan – Jonathan
Antonicus is back once again with another Ludic Lives podcast! This time around, join Antonicus as he interviews Rand (he/him) aka knish_of_death on Twitter and Twitch! In this episode Antonicus and Rand discuss activism, politics, as well as how sociology touches more of life than you'd think! Come Lounge with us, won't you? Follow us on Twitter: The Ludic Lounge: @LudicLounge Antonicus: @RojoLoco44John: @just_john_0891 Or feel free to email us: theludiclounge@gmail.comRand can be found on Twitter as well as on Twitch: Twitter: @knish_of_deathTwitch: https://www.twitch.tv/knish_of_death
Learn More About Project Ludic Services: https://projectludic.com This is the Diversified Game Podcast with Kellen "Kash" Coleman a podcast giving entrepreneurial advice from a diverse and inclusive perspective. Submit to Be Our Guest: Send your bio, epk, one sheet, and decks to diversifiedgame@gmail.com Buy Our Swag/Merchandise: https://teespring.com/stores/my-store-10057187 https://diversifiedgame.bigcartel.com/ Support Us On Patreon: https://www.patreon.com/gamediversified Follow the Diversified Game Experience: http://diversifiedgame.com https://teespring.com/stores/my-store-10057187 http://instagram.diversifiedgame.com http://facebook.diversifiedgame.com http://twitter.diversifiedgame.com http://youtube.diversifiedgame.com --- Send in a voice message: https://anchor.fm/diversifiedgame/message Support this podcast: https://anchor.fm/diversifiedgame/support
Quick discussion of Cyberpunk Red's innovative XP system and their well deserved shout out to Seth Skorkowsky! My wife and Mattie also make an appearance. Loco Ludus Webpage https://anchor.fm/loco-ludus --- Send in a voice message: https://anchor.fm/jason376/message
This week on the Ludic Loungecast! John and Antonicus (Anthony to his friends) do their review of Battle Ground, the second of two new books in Jim Butcher's Dresden Files series! They get into full spoiler territory, so listeners beware if you haven't finished the book!Follow us on Twitter: The Ludic Lounge: @LudicLoungeAntonicus: @RojoLoco44John: @just_john_0891Or feel free to email us: theludiclounge@gmail.com
This week on the Ludic Loungecast! John and Antonicus (Anthony to his friends) do their review of Peace Talks, the first of two new books in Jim Butcher's Dresden Files series! They get into full spoiler territory, so listeners beware if you haven't finished the book!Follow us on Twitter: The Ludic Lounge: @LudicLoungeAntonicus: @RojoLoco44John: @just_john_0891Or feel free to email us: theludiclounge@gmail.com
Everybody has had to make the shift to being digital these last few months, and today's guests are co-founders of Ludic, and are on a mission to activate digital organisations. A key skill they've seen in such transformations is the need to be curious as leaders. Garrick Jones and Paul Ashcroft are co-authors of their new book ‘The Curious Advantage', and we unpick their key learnings in this episode. Tune in to learn more about their seven C's of curiosity, removing blockers and how to measure the value of curiosity in business.Founded in 2004, Ludic Consulting is a global consulting and design business enabling organisations to more powerfully make decisions, implement and transform for an online distributed workforce. Links mentioned in this showThe Curious Advantage: https://www.amazon.com/Curious-Advantage-Paul-Ashcroft/dp/1648713513/The Cognitive Bias Codex: https://www.teachthought.com/critical-thinking/the-cognitive-bias-codex-a-visual-of-180-cognitive-biases/ Susan Collier: https://www.ram.ac.uk/staff/susan-collierJacob Collier: https://www.youtube.com/channel/UCtmY49Zn4l0RMJnTWfV7Wsg‘Play Bigger' by Al Ramadan, Dave Peterson, Christopher Lochhead, Kevin ManeyHosted by Gillian Davis, co-author 'First Time Leader; Foundational Tools to Inspire and Enable Your New Team' this podcast is to inspire managers to step up and lead their teams. We talk to those on the front line and get managers to share what has worked, what hasn't and what resources they have tried and tested.This podcast is powered by OverTime, a company that helps new leaders build great teams, products and companies. For more information, visit www.OverTimeLeader.com.
Today’s episode is brought to you by by VINN. Find and buy a new car - and even test drive it - without once setting foot at a dealership. Visit vinnauto.com for more details. Need more Capital Daily? Sign up for our daily newsletter at CapitalDaily.ca
Antonicus is back again with another Ludic Lives podcast! This time around, join Antonicus as he interviews Robin, a long time friend and previous guest of the Loungecast. In this episode, Robin and Antonicus discuss teaching during a pandemic, evolving tastes as we grow older, what it means to fully embrace Queer identity, and the current world events around the Black Lives Matter protests. Come on in and Lounge with us!Follow us on Twitter: The Ludic Lounge: @LudicLoungeAntonicus: @RojoLoco44John: @just_john_0891Or feel free to email us:theludiclounge@gmail.com
Simon Brown is the Chief Learning Officer at Novartis. Garrick Jones and Paul Ashcroft are the Co-Founders and Partners at Ludic. Simon, Garrick, and Paul are the co-authors of The Curious Advantage. They also have The Curious Advantage Podcast.
In this episode, we speak with multi-instrumentalist, guitar instructor, singer, and songwriter Ayla Tesler-Mabe. Ayla has made a profound impact online with millions of views on Youtube, covering popular songs, teaching guitar, and music videos from her current funk, psychedelic, soul, and pop-infused band Ludic. She shares her journey as a musician from a very young age, to her experiences collaborating with Max and Rhett Cunningham making songs for the band. Ayla also discusses her musical influences, and how she applies them into everything she creates. Follow the podcast on Instagram: @the440guitarpodcast | Twitter: @the440podcast | FaceBook: @the440guitarpodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
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