#german voiceover: 1 me: 0

[luchitohamilton]

lewis with moritz steidl back at the austrian gp '23 [x][x]

My whole life also people said "you can’t", when I was a kid people said "you can’t", when I was at school my teachers said "you can’t", when I said I wanted to be a Formula 1 World Champion they said "you can’t". I’ve had team drivers and drivers, so many people, so, so many people trying to create that narrative and let that set into your head and if you let that into your head it can become a reality, right?, so just blocking it out, continue to believe, that's been the key and then proving people wrong, it’s the best thing ever and I think that’s part of our role, on this Earth, right, is to prove them wrong.

There are two cuts of this interview so I put both in the video and then transcribed them as one 👇

Edit: They posted another version that you can watch here

I have a quote here, Mohammed Ali once said, and I often relate this to myself, “Just remember you don’t have to be what they want you to be”. Do you know this quote? Do you like it?

Yeah, I like that. Definitely, I mean, you see how I’ve navigated over the time that I’ve been here in this sport. It’s been a challenge, you know, and you have of course, I’m sure, your own challenges. I think always just knowing yourself and staying true to yourself is the most important thing and not trying to change yourself to suit what other people think.

I think on the racing side of things, yeah, the narrative’s been interesting in the past year, you know, it’s a new scenario to have a new driver, George he has nothing to lose, zero, you know, so if he finished behind, they say “well, you’re driving against a 7-time world champion”, if he finishes ahead, is a win-win all the time, but for me if I finish ahead it’s kind of like “oh, well you’re 7-time world champion [so it’s expected]”, you know, and finishing behind is all doom and gloom, you know, so uhm, I just don’t read any of that stuff so I’m not like, I don’t get sucked in by the BS as you mentioned, you know, I just focus on everyday trying to be the best version, trying to work towards building the best version of myself, physically, mentally

And when people say like “you can’t” and then, my motivation, is to work extremely hard to prove them so wrong and I think, their faces, you look at them and they are like "he's really has done it", you know what I mean?

Yeah, I love that. I have that, I can empathized with what you're saying there, my whole life also people said "you can’t", when I was a kid people said "you can’t", when I was at school my teachers said "you can’t", when I said I wanted to be a Formula 1 World Champion they said "you can’t". I’ve had team drivers and drivers, so many people, so, so many people trying to create that narrative and let that set into your head and if you let that into your head it can become a reality, right?, so just blocking it out, continue to believe, that's been the key and then proving people wrong, it’s the best thing ever and I think that’s part of our role, on this Earth, right, is to prove them wrong and, yeah.

I remember when I was joining this team, Niki was one of those, he said, “You can’t be doing this, you can’t be doing that” and then, you know, in one of the races he was saying to Toto “He can’t be doing this things [going to a fashion show in New York right before the Singapore GP in 2018]. There’s no way, he can't be traveling here and arriving here fully focused” and I arrived, and I did the best time in Singapore in qualifying and he was like “Ok, maybe he can” so, you know, even the young to old, you're having to prove that too.

You’re a 7-time World Champion, someone who’s known in most of the world. Do you also sometimes, at home, its silence, you have self doubt?

Uhm, there’s definitely…I wouldn’t be human if that, if I weren´t ever on the wrong days having self-doubt. More often than not I don’t have it but it sometimes pops up, sometimes it's creeps up, and that´s part of my experience of growing up, you know, with these people telling you "you can't" and the sometimes it creeps inside, that voice that comes and says, you know, "you´re no good", " you don't look good" or "you're not this", "you're not beautiful", all these different things and I've just learned to really continue to develop a strong mental approach to my days so that can penetrate me ever.

When there are some people around, they know if I have self-doubt and I go to them. You also have these kind of people around you?

I would say if there was ever somebody it was always my dad. I mean, I went into the boxing ring and this kid beat me up in the boxing ring and I was like "I don't want to go back in. I can't do it" and my dad said "Yes, you can" and that was the first time he told me "Yes, you can", and those words are so powerful. You tell yourself that every day, then, it can liberate you, you know, so I tell myself in the morning [You can meditate] Yeah, tell myself this morning "Oh, maybe I can't do this" "Yes, you can". So, anytime those doubts come around I just I would rather just keep telling myself "Yes, you can. Yes, you can. Yes, you can". If I go to the gym and I don't feel I could do the weights [I would say] "You can do it. You got this", and that's just all in the mind and my mind is so infinitely powerful, that we don’t even realize and so it's making sure we’re feeding it with the right positive information.

#lewis hamilton #formula 1 #f1 #austrian gp 2023 #hungarian gp 2023 #pal archivo #german voiceover: 1 me: 0 #yes i sometimes wrote down the vibes more than the words lmao

[un-enfant-immature]

The robots occupying our sidewalks

Haben Girma Contributor

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Haben Girma is an internationally acclaimed disability justice lawyer and the author of the memoir, "Haben: The Deafblind Woman Who Conquered Harvard Law."

The robot, shaped like a large cooler on wheels, zipped along somewhere ahead of me. My left hand clasped the smooth leather harness of my German shepherd guide dog. “Mylo, forward.” The speed of his four short legs complemented the strides of my longer two — call it the six feet fox trot. Together we glided past the competition.

My quarantine buddy stayed behind filming the race. Mylo: 1, Robot: 0.

The Mountain View City Council voted on May 5, 2020 to allow Starship Technologies’ robots on city streets. Founded in 2014, Starship operates no-contact delivery robots in several cities around the world. Customers schedule deliveries of food, groceries or other packages through the Starship app.

My amusement with the little robots shifted to curiosity. Thirty years after the Americans with Disabilities Act of 1990, many tech companies still fail to design for disability. How would the autonomous robots react to disabled pedestrians?

About 10 feet down the sidewalk, I stopped and turned around. Mylo tensed, his alarm crawling up my arm. The white visage of the robot stopped about a foot from his nose.

I hoped the robot would identify a pedestrian and roll away, but it stayed put. Mylo relaxed into a sitting position — guide dog school didn’t teach him about the robot apocalypse. I scratched his ears and he leaned into my hands. The robot was not moved.

More than 61 million people in the U.S. have disabilities, a significant number of whom use wheelchairs, scooters, walkers and other mobility devices. Emily Ackerman, a power wheelchair user and University of Pittsburgh Ph.D. student, encountered a Starship robot while crossing a busy four-lane street; she needed the curb cut it occupied. “I managed to squeeze myself up on the sidewalk in a panic, climbing the curb outside the curb cut in fear of staying in the street any longer — a move that causes a painful jolt and could leave me stuck halfway up if I’m not careful,” wrote Ackerman in a 2019 article.

In the ’60s and ’70s disabled activists protested the lack of accessible sidewalks, then later wielded the ADA to compel cities across the country to install curb cuts and repair broken sidewalks. Wheelchair users, parents pushing strollers, kids with skateboards and now even robots benefit from these hard-won curb cuts. Disability-driven designs improve experiences for the whole community.

My standoff with the robot occurred six months after Ackerman’s article calling out Starship for failing disabled pedestrians. I waited patiently for it to back up, but the rascal remained rooted to the spot. As a deaf-blind person with full mobility, I had the ability to maneuver around the robot. With heavy steps I walked past it, continuing my daily physical distancing walk.

Before the pandemic, Mylo would accompany me to foreign countries, book talks and social dances. Dancing swing and salsa I could sense the beat through my dance partners’ hands and shoulders. Remembering those nights plunges me into nostalgia. So many of my interactions rely on my sharpened tactile intelligence. Our current no-touch world isolates me more than deaf-blindness ever could.

My home centers around touch-based solutions. The tactile stickers I added to my microwave and washing machine allow me to operate them on my own. The coffee machine, blender and stove all have physical controls. Even my phone supports tactile access. VoiceOver on the iPhone reads content out loud, sends dots popping on a connected braille computer and allows for nonvisual touchscreen navigation through gestures. I read the news, conduct research and schedule deliveries on websites and apps compatible with VoiceOver.

Relying on the internet as my primary channel to the outside world constantly throws me against barriers. Many web and app developers ignore accessibility guidelines and the ADA. News feeds are full of images without descriptions, videos without captions or transcripts, and recommendations for new apps to help everyone. In my experience, the word “everyone” means everyone except disabled people.

Thinking the no-contact delivery robots could benefit blind people, I tested the app with VoiceOver on the iPhone. The Starship app refused to fly with VoiceOver, crashing my hopes for a no-contact solution.

During a pandemic disproportionately extinguishing disabled lives, the last thing we need is cities adopting tech that excludes blind people and endangers pedestrians with mobility disabilities. The ADA’s promise of equality depends on enforcement. Advocates have already applied the ADA to Netflix’s video streaming, Scribd’s digital library, Domino’s online ordering and other tech services.

Cities and tech companies need to plan for accessibility early in the design process, include disabled people in solutions and review the many published accessibility guidelines. The next time Mylo and I encounter a robot, it better jump, spin and run.

#TechCrunch

[comiccrusaders]

Bear With Me, a noire-themed point-and-click adventure from Exordium Games, will continue the story of 10-year-old Amber and her teddy bear detective companion, Ted E. Bear, when Episode 2 releases for PC, Mac and Linux on Feb. 15, 2017.

At the end of the first episode, the search for Amber’s missing brother led the duo to a black-and-white metropolis inhabited by Amber’s other toys, who moonlight as the hard-nosed underbelly of Paper City. The elusive Red Man, suspected as the cause of sprawling fires, still serves as an omnipresent menace in Episode 2.

Their search will cross paths with a new roster of allies and suspects including CBG, a former detective who now believes surveillance cameras are strapped to the seagulls throughout Paper City. If it’s true, they’ve likely filmed the nefarious deeds of the Reef King, crime lord and operator of Westpaw Casino. He isn’t the only menace Paper City residents fear; Tigren, a local voodoo queen, has a staggering reputation of her own.

Amber and Ted E. Bear’s search for clues will lead them through twice as many scenes as Episode 1, showcasing locations such as an industrial stretch of docks complete with a diner, the bustling Westpaw Casino, and the heart of Tigren’s Den.

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Bear With Me features a narrative inspired by classic detective films and child-like imagination, coupled with dynamic storytelling and choices that affect the player’s progress. The game balances its serious mysteries with sharp wit, cutting one-liners and puns that reference pop culture shared across movies and games.

Episode 2 will be available for $4.99 on Steam and the Humble Store with full English voiceover along with French, German, Italian, Spanish and Russian subtitles.

“Players will witness extensive development of Amber and Ted’s relationship in Episode 2, including the underlying strain between them, as they encounter fresh puzzles and new mysteries,” said Andrej Kovacevic, game director, Exordium Games. “The sharp-tongued leads exchange their signature cutting humor as they face darker subject matter than the first episode while advancing classic detective-themed storytelling.”

About Exordium Games

Exordium Games is a Croatia-based independent studio that united 20 developers under a shared belief that games have a vital role in modern society’s evolution and future. The team is working tirelessly on its first full game, Bear With Me, as well as several other projects. Exordium strives to create magnificent adventures that can be enjoyed by people all over the world.

Bear With Me Ep. 2 Launches Feb. 15 on PC, Mac, Linux Bear With Me, a noire-themed point-and-click adventure from Exordium Games, will continue the story of 10-year-old Amber and her teddy bear detective companion, Ted E.

#bear with me #Exordium Games #Noir #point and click #videogames

[avanneman]

Christopher Nolan’s Dunkirk: Too cute!

Okay, we have changed the name of this website to “Snark R Us”, but bear with me. This is snark, but snark with a thesis.

Is Dunkirk an extraordinary visual spectacle? Well, duh. Yeah. I saw it at the Lockheed IMAX in the Smithsonian’s Air and Space Museum, one of the biggest screens in the area, and it was terrific.1 In fact, for the first hour or so, the film seems to be all spectacle, though entirely solemn—the opposite of the standard “spectacle” film—striving to dispense with any narrative whatsoever, one enormous scene after another, dealt out to us like great playing cards, without explanation or, seemingly, direction, except that we are told, explicitly, that the film will deal with three “elements”: Land, Sea, and Air.

For the first hour or so, Nolan presents the events in each element with "artless art". We can presume that “stories” will emerge, that they will fit together somehow, but nothing that we see seems to be prompting us to expect a particular conclusion. The cross-cutting between the elements don't comment on one another, and the intensely dramatic events that we see--planes being shot down, ships being torpedoed--are presented in a "things just happen" manner. A Spitfire disappears when no one was looking and our two "Land heroes" survive their numerous disasters through blind luck rather than quick-wittedness or bravery.

However, there is always a lot of "on the nose" dialogue—both because we need a fair amount of information to understand what’s going on and because Nolan has trimmed out all “nonessential” dialogue—and the further the film progresses the more conventional, and on the nose, this dialogue becomes. Finally, as the three narratives finally are drawn together, despite all of the ingenuity that Nolan has expended in creating a non-spectacular spectacular—the opposite of the sort of "Land of Hope and Glory" patriotic chest-thumping that is, of course, entirely out of favor these days, and has been so for decades—we get a veritable orgy of understated, indeed camouflaged, British stiff upper lip, which is hardly less objectionable than the old, adulterated as it is with the base alloy of hypocrisy.

A particular issue is the degree to which the film departs from "fact". Significant departures from the historical record, if they become frequent enough, are sufficient to sabotage any "historical film", but what is particularly objectionable with Nolan's treatment is that all the departures have the same purpose--to sentimentalize the events of Dunkirk and show that the British saved themselves entirely on their own.

The film begins on an almost predictably "surreal" note--British soldiers patrolling a "charming", seemingly deserted, European town when suddenly a whispering snowstorm of leaflets--leaflets urging surrender--descend from the skies above. Of course, the "real" Dunkirk had been subject to both artillery fire and aerial bombing, so that the quaint street scene we see wouldn't have been so charming, and, since airplanes back in the day flew much lower than they do today, the leaflets' descent wouldn't have been quite so mysterious, but directors do like to catch us by surprise.

The Tommies are soon caught by surprise as well, death coming, as it so often does in war, from a hidden enemy. Only one man, "Tommy" (Fionn Whitehead), survives, and he is clearly to be our Everyman. We follow him to the beach, where massive lines of passive, helpless British soldiers stretch across the sands, as though they were on the shore, not of the Channel but the River Styx, with Charon as their only escort. Tommy encounters another solitary, "Gibson" (Aneurin Barnard), and they pair, as orphans in the storm.

The film cuts away from these two to give us a refresher course in the harshness of war. Desperate French soldiers struggle to get in line for embarkation, but they're rudely pushed back. "Shove off, mon frère! These boats are for Brits only!" And what's the point of filling these boats up with wounded on stretchers? All they do is take up room! What do you want, an army of invalids or an army of soldiers?

Then Commander Bolton (Kenneth Branagh) and Colonel Winnant (James D'Arcy) have a little officers' only chat about how bad the situation really is.2 Yes, we've got over 300,000 here on the beach but high command doesn't expect to rescue more than about 30,000. The Battle of France is over, more or less. Britain has to get ready for its own Battle and there's no point wasting good ships and planes on a lost cause. Bad show and all that, but we’re pretty much on our own.3

On the other side of the Channel, "Mr. Dawson" (Mark Rylance), skipper of a small craft, decides he's going to be one of the fellows who helps out, regardless of what the big shots think. He knows how to handle a boat, and he'll do his bit for Britain. And he takes along his son Peter (Tom Glynn-Carney), who looks awfully pretty, and "George" (Barry Keoghan), a shy little kid looking to grow up. (Guess what happens to him?)

After all this downbeat helplessness of land and sea, we get away to the air, where at least something can be done. A trio of Spitfires head out in search of German bombers, which turn out to be suspiciously easy to shoot down, largely because, one suspects, there is nothing cooler than watching a bad guy get shot down--though, to be fair, two of the Spitfires bite the dust as well.

It's when the three stories begin to intersect that Dunkirk begins to lose its godlike "indifference". When the Spitfires pass overhead, Mr. Dawson cries "Spitfires! Greatest plane ever made!" Well, maybe, but do we have to know that it has a Rolls-Royce Merlin engine? And so what if it does?

Later, things get considerably more conventional when one of the Spits has to ditch. As the plane fills with water, the pilot "Collins" (Jack Lowden) faces drowning because his canopy is stuck.4 At the very last second, crack!, an oar smashes open the canopy and Collins is saved! Old man Dawson somehow maneuvered his boat right next to the sinking Spitfire and cracked it open. And so a film that had deliberately avoided the heroic cliché of the standard war film embraces the cliché when the going gets tough.

Throughout the film, at Dunkirk itself, Tommy and Gibson have been functioning as a pair of Typhoid Maries. Every boat they board is torpedoed, mined, or bombed. Over and over again, sanctuaries become death traps, very much in the tradition of Steven Spielberg's Jaws and Jurassic Park. Finally, the two screw up so badly, trapped by a sea of burning oil, that only Mr. Dawson can save them, which he does.

Once Nolan starts getting maudlin, he just can't stop. We get a shot of the sea off Dunkirk, dotted with dozens and dozens of doughty small vessels—hundreds, even—as far as the eye can see, all to bring their Tommies home, even though, in fact, the non-naval vessels involved were largely ferries and other commercial craft, and almost all the auxiliary boats, of every type, were operated by naval personnel, because how can you rely on people you can't court martial?

Well, things are looking great when, all of a sudden, yet another menace! A German bomber comes swooping down for the kill on the hapless boats when, out of nowhere, yes!, the last Spitfire, out of fuel yet magically ghosting forward in majestic silence like an angel of mercy, comes to shoot down the German, though how an unpowered plane could maneuver effectively enough to engage a powered one strains the old suspension of disbelief just a little.

But in the film, Nolan pulls out all the stops. An enormous cheer swells up across the entire beach, although from our “god’s eye” perspective, it would scarcely be audible. And the soundtrack, which has been stringently and resolutely “ambient” up until this point, bursts forth with shamelessly manipulative “Hollywood” tones of triumph and release.

In the aftermath, the boys come home to rapturous crowds, live (most of them) to read about their heroism in the newspapers, and, in the voiceover, Tommy reads us Churchill’s words to the House of Commons, words that subsequent events were to make glorious rather than hollow, because in God’s good time, the New World, with all its power and might, did step forth to the rescue and the liberation of the old.

Yes, the British saved the day, though Nolan might have mentioned that it was the French who prevented the Germans from taking Dunkirk while the evacuation took place over a space of twelve days. According to Wikipedia, about 3,500 British soldiers died in the battle of Dunkirk, compared to 18,000 French. Instead, he wants to show us that the British Army was saved by the RAF and its civilian sailors, the “little boats”, the same story British kids were told back in the fifties.5

It’s also notable, I think, that, despite the horrors Nolan depicts—helpless soldiers strafed by fighters, men drowning in seas covered with burning oil—he keeps the worst from us. There’s remarkably little blood in this film. We see men die, but the camera never lingers. We don’t see limbs being blown off, or men burned alive, as we did in the famous opening scenes of Saving Private Ryan.6 The honored dead are never degraded by death.

Afterwords For my generation, growing up in the aftermath of World War II, Dunkirk was a living legend, and I certainly did not need to be told that the Spitfire carried a Rolls-Royce Merlin. The audience I saw the film with were almost entirely young people. It’s “interesting” to think that their major acquaintance with horrors of the Twentieth Century (European edition), comes largely through works of British fantasy—Tolkien’s Lord of the Rings, based heavily on Tolkien’s personal experience in World War I, and Rowling’s Harry Potter series, based on the stories she heard growing up about World War II.

Bonus Afterwords: What did the Dunkirk "miracle" accomplish? At the very least, it saved several hundred thousand British soldiers from a brutal five years (if they lasted that long) as German POWs. Arguably, it discouraged defeatist talk within Britain, although the real proof of the pudding was the RAF's victory over the Luftwaffe during the Battle of Britain. But, ultimately, Hitler defeated himself first by declaring war on the Soviet Union and then by piggybacking on the Japanese attack on Pearl Harbor and declaring war on the U.S.

The Smithsonian has three IMAX screens. They don’t show many general release films, but when they do it’s a great venue. No previews, no pre-previews, no coy reminders or come-ons, just the damn movie. Plus, you get to check out contemporary tourists. ↩︎

For some reason, Nolan pretends that Bolton and Winnant were the only two officers at Dunkirk. In addition, there are virtually no NCOs (army sergeants and naval "petty officers"). Film directors very often effectively dispense with the military chain of command both because they don't understand it and because they think civilian audiences would think it oppressive and undemocratic—all that yelling and saluting. ↩︎

Bolton and Winnant engage in what is to me a particularly “cute” exchange: Bolton: “You can almost see it from here.” Winnant: “What?” Bolton: [brief, pregnant pause] “Home.” Hey, Colonel, you’re a pair of Brits in France looking across the, you know, English Channel. What would you fucking expect to see? ↩︎

In war, things very often don't work the way they are supposed to. ↩︎

After World War I, there was a similar story, claiming that the French had stopped the initial German advance in the Battle of the Marne thanks to reserves rushed to the front in Parisian taxicabs. ↩︎

Ultimately, Saving Private Ryan becomes far more Hollywood than Dunkirk. ↩︎

#Christopher Nolan #Dunkirk #2017 movies