Virtual reality. You know about it, you've heard about it. Oculus Rift, HTC Vive, and now, the PlayStation VR. With this situation, people already have playstations, or at least a lot of them are out there. Beyond that, you've got this launch bundle, Which gives you all of the components necessary. In the VR World, The friction associated with getting started ...
Is one of the things that's holding it back. I know about friction! It's how you make a fire, right? Like... with the.. What's inside the box https://mencursus.net/iconic-esports-moments-ogs-miraculous-win-at-ti8/? So you've got the headset of course, You've got these controllers The camera and the game Included is kind of like a variety type of disk. you can see there are some accessories The headset is available now. You will need to do something for audio and then some accessories here for like a gun unit that will be out in the spring (ohhh) ... (ohhh) ... There is a couple of different options here. Here is the camera unit You can see that is has two lenses, that's going to be used for motion tracking It sort of tracks the lights. These little globes on the top There is also lighting on the headset so it knows where your head is. Another controller. So two controllers. (fake gun noises) (more fake gun noises) (even more fake gun noises) Excuse me. (gun noise) (more gun noise) Notice where I'm aiming. Hey first class jack. Look at that action. (whoo) Wow, they went all out. Look at the size of this quick start guide. Look at all that empty space on there. Look at this the way they ... A head set. So they do give you a headset. This box is how you are going to interface with the VR headset while remaining connected. HDMI to the PS4, Micro-USB to connect it. (wow) Oh... So those ports become more accessible on the front. This looks like the important headset cable. I'm guessing. It's that special AV looking connector. It actually looks kind of like HDMI. And there it is The cables already installed on this thing with an inline remote. Thats kinda cool. This breaks out into the same thing and that will go into there and a headphone jack So any headset is going to be capable of working Spring loaded I got to say first impressions here are positive Very soft and cusheny. Look at that. Lets enter virtual reality together. ahhhh thats look at that. that guy right omg okay. Put on the headphones. Going deep guys woooh yeah. Im in it. Im in it Yes! Play station VR worlds begin baby Oh! Yes! Oh man. Oh man! Woh! Easy easy woh! Easy boy. Woooh! Ahhhhh! yeah. omg. No no oh yeah! Woooh! Wooh! holy smokes. Thats a demo right there. How about I do this London Heist Ohhh my hands. Wooh! Simulation theory Right. Ohhh my Oh theres a piece in there. Oh man. Oh man. Load the gun. Ohhh! Ohhhh! *gun shot* Ohhh! Uggggh not good right now. Not good. Oh man! Oh my playing Russian roulette with me right now. Oh my. im lighting a cigar right now. *Character* Fuck Bluetooth ear piece can I put that on. Oh I put it on Ohhh! Look at this stack of cash I just lit this dudes cigar. Yes! Oh boy. Got em Theres like a little ridge here I gotta shoot through Oh i need another clip Got him Oh Im out of bullets Good. Die! Oh Im sweating The immersion there. You get lost for a minute. I gotta be honest This is a good time. This will blow your mind. Your gonna have fun Moms and dads bookmark this video. Every kid on the planet wants this for christmas You heard it here.
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Otherwise people forget that it's possible to do so, because if you just watch television, which is so celebrity focused, or if you just read a lot of magazines that are also highly focused on celebrities, you start to get the impression that the only people whose lives really matter are celebrities who we don't know. Really, we don't know these people.
We like some of the things they do. But we also don't like some of the stuff they do. But that's not the world, because what you don't want to do is shut down the belief that the capacity to do those things is in everybody who wants to do it online casinos that accept us players. And so somebody has to say, look, I built my studio in the neighborhood where I live because I didn't want to be associated with the idea that success meant getting away from that neighborhood. [APPLAUSE] JACQUELINE STEWART: I'm going to ask one more question. Then we'll throw it out to the audience. You mentioned the thing about celebrity culture. And I was thinking about that in relationship to your projects in which you picture people for whom we don't have other kinds of images. And I guess I'm wondering if you could talk a bit about your research process, how it is that you collect information, ideas about the things that you treat in your work. I mean, we're thinking a lot at this university right now about the role of the arts in relationship to scholarship. It seems like you manifest that in your work. You're doing a kind of scholarship through the visual. So could you talk a bit about how you do research or how you envision the writing of different histories through your practice? KERRY JAMES MARSHALL: Well, I mean, if you come by our house-- and Cheryl will tell them-- it's like we are wall to wall books, wall to wall. I never saw a book that wasn't worth picking up and looking at. And the thing is, I mean, this really does go back to some sort of foundation experiences. I mean, I have to say my kindergarten teacher made me who I am. Really, she made me a compulsive image collector, because she collected images and kept them in a scrapbook. That made me a compulsive image collector. And I had been doing what they used to call-- for artists, used to collect pictures that they used as source material for artworks, they called it a morgue. It's folders of body parts. You know, you get a hand. You get a leg. So they called it a morgue. So I was doing that, too. But I just took it to another level. And when I came to Chicago, you know oddly enough-- so, well, let me back up just a little bit. So I studied a couple of things. So I studied children's literature when I was in junior college before I went to school at Otis. That is I wanted to be a children's book Illustrator at one time. And part of the reason that I wanted to be a children's book Illustrator is because when I went to elementary school, there were books that I was never introduced to. And I didn't start reading them until I was in high school or later, like Treasure Island, you know, stuff like that. And once I started reading those things, I was thinking there was so much that was being missed. So I wanted to be connected in some way with a world in which you are presenting that kind of material to other, younger people. And so I started out I was going to be a children's book Illustrator. But I was really interested in the whole history of book illustration and the way books sort of came to be what they are. So that it's not that black folks belong in certain kinds of pictures. You know, they don't only belong in pictures that are about trauma. They don't only belong in pictures that about being disadvantaged.
They don't only belong in pictures that are about abjection. They don't just belong in those kinds of pictures, even though on some level, we think the media sort of presents us with those kinds of things more often than not. We're not always great athletes. We don't all sing. We don't all dance well. You know, so what about those people in between? What about those average folks? You know, the ones who are just sort of-- they're satisfied, but they're not reaching for the stars. What about them? I mean, is it worthwhile to represent those people too? Or do we always have to represent people who are either celebrities? Do you have to be famous in some way or another? So there's a way in which this kind of normality, sort of the way in which pleasure and normality can co-exist in the representation of a figure, that's something that I'm really interested in. And I think for a lot of-- I mean, from what I hear from black people, and this is because people often come up to me and they say things to me about the experience they had in a show-- I was in Germany 10 days ago and a woman came up to me there and said she saw the show in New York and that the work in the show moved her, that it spoke to her. And that picture that I said I had a story about, the woman sitting on the blanket having her picture taken, so my studio in the South Side the man who cut my grass, VL Barnes was his name, Mr Barnes. Mr Barnes was 71 years old just this-- he retired from doing yard work and moved down to Mississippi so he could be closer to his family because his wife had a stroke. Now he thought well now it's time to get kind of get down there and be close to his sons, and things like that. But when I was getting ready to have a show that that painting was in, Mr Barnes and his crew-- he have two young men who worked with him-- they wanted to come in the studio and see the work before it went out for the show. And when he came and he saw that painting of the woman on that blanket, Mr Barnes said, she's so cute, she talking to me. That response-- I mean, that is a priceless response. And on some level that's the response I would like to elicit in a lot of the work that I do from somebody who is not particularly invested in art, who is not-- I mean, except he did ask me if I would do a sign to put on the side of his truck-- [LAUGHTER] JACQUELINE STEWART: Did you do it? KERRY JAMES MARSHALL: I did. [APPLAUSE] No, because he was going down TO Mississippi for A family reunion. And they had a contest where you decorated your car, your truck. And you drove in a parade for the family reunion. He asked me to do it. He told me this is what I want on it. JACQUELINE STEWART: I hope he holds onto that sign. KERRY JAMES MARSHALL: I mean the reason I say that though is because I mean as an artist-- I mean, I live where I live for a good reason, because I am not apart from the people who are around me. And so I can make a lot of work from the things that are happening in my environment, in my neighborhood, within my domain. I mean, this is where I can make work, and you can make magnificent work from there. And you have to demonstrate that all the time. But then the implications of those are much larger than just the tags themselves. Policeman, da da da di da, and a drawing. And that's it for the slide portion of my talk. [APPLAUSE] So I think now, if I didn't use up all the time, we can talk about a couple of things.
So anyway, thank you. JACQUELINE STEWART: Thank you. Thank you. That's incredible. You know you had me sit up here, but actually the experience of looking at your work like this is not unlike the way that I normally encounter it in a museum. Your work is overwhelming. I mean, I don't know if other people have that experience. But it's not just in terms of its scale, but in terms of the larger project that you're engaged in. It is intimidating sometimes. And I guess, in light of what you said about being a gambler and trying to maximize your odds of winning, and the way that you've thought about that in terms of your place in the art world and in our history, I wonder if you could talk a bit about how you think about the audiences for your work. I mean one remarkable thing about seeing Mastry in a couple of places was how many black people were there. And I don't know this for sure, maybe somebody from the MCA is here who could say this, but I think folks really turned out for that show. And there's a way in which you are engaging in so many layers of critique of art history, let alone social and political history, I wonder how you think about the kind of emotional impact you want to have on your audiences. Do you think about who your audience is? Are there different segments of it that you're trying to speak to? And are there particular things that you're trying to say to African-Americans who are looking at your work? KERRY JAMES MARSHALL: A lot of questions packed into one set of statements. So do I think about the audience? I do. I mean, as an artist, artists don't operate in a vacuum. So we are parts of communities. We come out of families. We have political affiliations. We have ideological leanings and tendencies. And we have all these things. So a part of what I think that what I just outlined there is a way of trying to operate in the world as a whole human being, allowing for all of the things that I feel, all the things I believe, all the things I think, all the things I know, the things that I am afraid of, the things that I'm happy about, to allow all those things to be a part of what I do as an artist and to show up in the work that I make, so that it's a reflection of what it means to be a whole human being operating in a complicated world. And so in terms of what the audience, what I hope audiences come away with from work-- and we have to say that-- I mean, different audiences have different needs. I am not a person who believes in this sort of universal appreciation, that artworks don't come out of a space in which that kind of universality is a real possibility, because everybody is not at the same place. We didn't come under the same circumstances. We don't have the same desires. We don't have the same needs. We just find ourselves operating within the same social structure. And people are differently situated within that social structure. So it's unreasonable to expect that everybody would want to or should be able to react to respond to the same thing in the same way. So I don't expect. One of the things that I hope the work does for an audience, for audiences-- and this has something to do in a way with a variety of things I do is for it to normalize the presence of those black figures in the kinds of paintings you see them in. Welcome back to Poker Night in America and look who's back. I knew he couldn't stay away for long. Dave Eldridge, legendary in the Pittsburgh Rivers poker room and poker rooms all across the country for that matter. - [Joe] Straddle's on and it's Kyle Bowker. So let's all just fold to him and get to the next hand.
- [Shaun] Did you add this hand Kane or was it for next hand? - Um, I don't, I gave him the money, I don't-- - Whatever, we'll just say it's not playing. - [Kane] Just make a ruling, it doesn't matter. - It doesn't play this hand. - [Ted] I would say that ten's not in play. - [Joe] Ted, harsh but fair. - Wait, so it is or it isn't? - Is not. - [Chris] He always was the smartest of the triplets. I hope he doesn't cost anyone money here because that would be terrible. - [Joe] I think Dave Eldridge is gonna cost himself some money perfectly fine all on his own. - [Chris] Kalas made a $1400 with his kings. Original raiser, Dave Eldridge, on the decision. And it looks like $1400 is not enough for him. He makes it $3100. - [Joe] Eldridge either not a believer of Kane Kalas, or ten, eight is his lucky hand. Kalas calls in position. - [Chris] Everyone quick, look at your cards. - [Joe] Under reps his hand a little bit by just calling https://casinoslots-sa.co.za/eco-payz. - I agree it wasn't his greatest hand, but-- - But I'm talking about what I watched on TV. He just-- - [Chris] $6300 into the middle. Here's the flop. King, six, six. Flopping boats and feeling good. - [Joe] Clear minds, full house, can't lose. - [Chris] Kinda bad news though is that Eldridge got nothing. Like, nothing. - [Joe] He is drawing dead and this is the exact kind of board he should keep telling his old bluff story on. I think the move here is for Kalas to smooth call. It's really hard for Dave to have a hand he can call or raise with. - [Chris] And there is the call. - [Shaun] He tried so hard. Like that month, the work we did-- - He doesn't have a big enough ego to where he thinks that he's better than you guys or whatever. He will take the-- - [Chris] There comes the turn. - [Shaun] I called him. He was more work than I thought he would be, but he was the hardest working student. He was up until two, three in the morning every day with us in between days. Studying, going over ideas, discussing strategies, reviewing tape. He worked so hard and he now-- - [Joe] Looks like Eldridge might be giving up. - [Shaun] His wife was awesome, she gave him all the free time to work-- - [Joe] I like a check back here for Kalas. So many hands are gonna fold to a bet. - [Chris] Exactly what he does, so we will see a river. - [Joe] Oh, that is not a good river for Dave Eldridge. He's got a full house now. - [Todd] I know, I was just thinking what if his wife would've said no? - [Kyle] Yeah, like it's only for eight million. - [Todd] No, I mean you need to come home for dinner. - [Kyle] Yeah, yeah. - I don't know how much that would affect their lives if he won or got nineth. - Oh, yeah. I mean he has a lot of money or whatever, but still. It' still like the biggest spot of his life. - It's not just the money. - Yeah. But no one ever gets into it. - I was very worried that he was totally going to ignore ICM, we'd actually-- - [Joe] He probably can't value that and get called by Orris, but he might call a river bet from Kalas. - [Chris] Yeah, if Kane comes in at like the $4500 mark, he might get called. - [Joe] Let's see what size he makes it. - $3,200. - [Joe] Pretty small. The way Kalas has played this hand, I think that he's very rarely gonna have a hand that an eight is beating in this spot. And Eldridge agrees, good fold. - Would you have 4-bet if the 10K was in play? - Hm? - Would you have 4-bet if the 10K was in play? - No difference. - [Joe] And we've got a double straddle. Double secret probation straddle. - [Dave] I just told him I had ace, king with no diamond on that last hand when he check-raised and he believed me. (laugh) - [Shaun] I told you he's not that smart Dave. Trust my reads. That was a double straddle right? Right Dave? - [Dave] I mean yeah, yeah he totally believed me. - I watched the last time you played here. And I've played with you before. - Yeah, we played-- - How much is that? - We played a tournament at uh-- - [Chris] Kalas has made it $625 with fives. - Like 50K. - [Shaun] I thought he said 1K. - Yeah, it wasn't that big. - [Shaun] Not so big. - Yeah, I think I got screwed. I beat the Ann Van Tran, or Ann Van Win. - [Joe] Nice juicy pot to get things going. Ganzfried with the best of it. Oh, not anymore! Top pair for Eldridge. Set of fives for Kalas. - [Chris] Kalas is gonna do his best to get more of that money out of Eldridge here. - [Joe] Five alive, somebody is about to get knifed. - [Chris] Check check to Kalas. Here comes $725. Seems so dang affordable. - [Joe] Don't do it Ganzie. - [Chris] Good fold. - [Joe] Eldridge, on the other hand, he's gonna have to lose at least a little bit more. - [Chris] He calls. So $3400 with heads up play between Dave Eldridge and Kane Kalas as we head to the turn here on Poker Night in America. - [Todd] Yeah and Vanessa was there and claimed she was blackout drunk and then she was there for another 12 hours. - [Joe] Getting blackout drunk is the closest a human being can come to time travel. It's like you woke up in the morning and you from the future came back in time to mess up your life. I called who? - Can I get a double Tito's and soda water with three limes squeezed into it? - [Joe] Well if getting blackout drunk is time travel, Todd Brunson just ordered a DeLorean. - Actually can you get me two of those please? - [Shaun] Pacing yourself. - [Joe] $1700 on the bet from Kalas. - [Kyle] I'll have one too. - [Todd] A little Dmitri this hand. You flop bottom pair with no draw, no nothing. A flop middle set. I check, that's the pot-- - [Chris] Eldridge trying to keep this pot controlled. There's check calling here on the flop and the turn. - [Joe] If Kalas bets again on the river, I think Eldridge should seriously consider laying it down. He is beating no three streets of value hands. - Like I'm gonna throw my hand away at this point. We ran it twice and he won it once, I won it once. - [Shaun] Yeah, I know. He took out Keith and a few other people. - [Todd] We would have a full game and then-- - [Joe] Kalas goes for $3350 on the river. In order to make this call, you have to think your opponent is an absolute maniac. Now Kane from the WWE, he looks like a maniac. To be honest, so does this Kane, but not that big of maniac. Wow. Dave Eldridge liked calling more than a salesman at the gym after you cashed in your free training session. Kane Kalas running hotter than that big straw man they burn at Burning Man. - But unlike the people who actually go to Burning Man, he's not making a giant (beep) deal out of it. (laugh) Another stop for Poker Night in America at Rivers in Pittsburgh meant another opportunity for tournament players to take home big cash in the 2016 Pittsburgh Poker Open. Our final five players bested a tournament field of 270 players and then battled it out in front of our cameras for their cut of the $261,000 prize pool. The first player eliminated from the final five was Edgar Kelley Jr from Hamilton, Ohio. Fourth place went to David Serkoch from McKees Rocks, Pennsylvania. Congratulations David on your $19,000 payday. Eli Stepanovich III got third place. Imagine that. But no worries bud, $25,000 in prize money should take away some of that pain. And finally we were heads up with two Johns from Pennsylvania. After a spirited heads up battle, in the end it was Jonathan Love finishing in second place with a $39,000 payday. And that left John Kulp as the last man standing, taking home the 2016 Pittsburgh Poker Open Championship and the $68,000 that went with it. Thanks again to all the players who made the 2016 Pittsburgh Poker Open a great event and hope to see you again next time. The house is full. Lots of poker being played here this weekend. See where we're gonna be next, maybe right in your own backyard, by going to pokernight.com. - [Shaun] You're that close? - I'll bet. - [Todd] Does anybody wanna change seats? - [Shaun] Not me. It's January again, and school will be back in session before you know it. While admissions counselors across the United States aren’t necessarily back to work yet, the time is quickly approaching – and that means it’s about time to continue poring over admissions applications.
Sometimes the best advice for admissions counselors isn’t really about how to find the right applicants during ‘crunch’ time – it’s about how to make the process far less stressful on yourself. When you’re less stressed out, your applicant base will feel as if the process is more pain free. This makes both your life and the life of your admissions base 100 times easier as you navigate through another round of applicants and another academic year. Get the Help You Need Admissions counselors are universally used to doing everything themselves. If you’re also responsible for reviewing applications at your school, chances are this time of year is overwhelming for you. This is where interns come in. If you haven’t asked your administrative staff for interns, now is a great time. Students may also be eligible for work study – which is a great way to get some labor into your office and ensuring your workers are fairly compensated. You may not want students going through applications themselves, but simple things like data entry, matching up test scores and ensuring that all applications materials are in place for particular students may be things that currently admitted students can help you with. Take a Break Multi-tasking is something you need to be naturally good at in able to do this job – but things shouldn’t be so stressful that you’re pulling your hair out day after day. If you don’t have a system in place, this time of year is a great place to get one. Try setting aside a few hours a day to answer student questions. Rather than taking meetings at a specific time, block out hours on your schedule where you’re going to go through applications. Try blocking out time for answering emails. If you’re feeling overwhelmed with your current workload and set up, maybe it’s time to start fresh in the new year and take another approach to your work. Try making a list of the top 5-10 things that stress you out during this time of year and make an action plan to minimize those. You’ll find yourself happier and more productive in the new year – particularly if you’re able to ask for help when needed. A happier admissions counselor is a happier admissions base. The less painful the process is for you, the more streamlined it will appear for your students. It's that time of year again – when all your hard work visiting classrooms to discuss how your learning institution is the best choice culminates in (hopefully) thousands of applications. You know, however, that the work is nowhere near done. Even if the first round of application deadlines has passed, late applications will come in and students will start exploring financial aid options with the FAFSA date coming up.
Believe it or not, many students still aren’t aware that January 1 is an important time for them. Many students’ parents will need to contribute to helping with the FAFSA, which can be a harrowing process. High schools typically help out with filling out the application – but then there are tuition fees to worry about, and who wants to pay hefty application fees? Most colleges offer FAFSA help and application fee waivers to help with costs. The problem is, many students – both traditional and nontraditional – don’t have any idea these resources exist. With internet communications becoming so prevalent, it’s important to give students some options to save money. The idea is not to reduce your school’s revenue, but to increase enrollments by giving students from lower income families a chance. But you already knew that, right? Examine the Qualifying Income It may be too late this year, but it’s always good to review the income brackets for application fee waivers with administration. If hard economic times in the US call for a review of the current bracket, then make that happen. Start a dialogue now so you can revisit this issue with administration next summer or fall. Modify Digital Applications Remind students about fee waivers by modifying digital materials. Ask the student to indicate whether or not they’re interested in a fee waiver, then ask for an email so you can contact the student personally if necessary. If your school is a large university, you may want to ask students to complete an extra digital form so that you’re not sending 10,000 emails. Many schools already have printed applications, so just slip a fee waiver questionnaire into current applications to save a little time if necessary. It’s also a great idea to make sure that students know they can request an application fee waiver by telling them on the admissions webpage. So many schools gloss over this step. Reminding students that aid resources they wouldn’t always consider are available to them could get you those extra applications you’re looking for. Extra applications mean you and students both have an opportunity to excel. One of the best parts about working in higher education is that it is a world that is ever evolving. Once one plan is successfully implemented and on its way, it is already time to begin working on the next one. It’s the cycle of enrollment and classes that keeps a university body moving steadily onward. Classes may have just begun for the spring semester, but now is the best time to begin implementing strategies for bringing students in over the summer.
Who Takes Summer Courses? The students that enroll in summer courses are from all over the map. Some of them may be returning home and want to get a few credits out of the way that they can transfer back with them when they return to their home institution in the fall. Some may be eager students ready to get some of those prerequisites out of the way before hitting the books in the fall. Others may be non-traditional students who are just looking for a class that will sharpen their minds and interest them. And still others may be those repeating a course that did not go as planned for them during the previous term. In many ways, summer courses offer a broader range of student possibilities than traditional enrollment in Fall or Spring. Use Your Data By using your student data from the previous two semesters, you will be able to have a clear vision of the types of courses those repeat students will need. You can also use that same data from the previous summer to tell you which classes have, historically, been the most popular. Summer courses are a great way to pick up extra revenue because classes are quick and hyper focused. For example, I studied how to write my essay in summer to achieve high results in school. The nature of a summer course appeals to some students because of the short time commitment. The summer session can also appeal to those who don’t want to focus on too many things at once. Students who struggle with math or science might find it easier to focus on these subjects when they don’t have the rest of their class load to think about. Whatever type of students that you typically serve, summer is a wonderful time to bring in those students who don’t normally sign up for a full load of classes come Fall. This is also a perfect time to let those students know all of the incredible offerings you have so that you can tempt them into returning full time. |
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