I found strange alien monuments here, and a few more sentient lifeforms than I'd anticipated.
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Home computers stepped in as competition, and dolls and teddy bears grew more sentient and chatty.
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Presumably David was broadcasting the signal to draw more sentient life forms to his world for experimental purposes.
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Canogar said he wanted to see what would happen if we stopped seeing screens as screens, and instead as something more sentient.
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It regularly performs checks to tell me it's working and it just seems more sentient, though I've fortunately not had to test it in a real fire.
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The most fascinating and unusual aspect of this new run will be Aric's famous armor, which (mild spoiler alert) is becoming more sentient as the story goes on.
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After some time of studying "PMAT" under a microscope, there's truly something that feels more sentient in the helical architecture of Gwyer's synth lines than many of the ones her peers in acid techno are able to conjure.
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And as soon as they become more sentient—this is especially noticeable with Maeve (Thandie Newton)—their bodies are seen less and less, as if modesty is reserved for the thinking, or those who can feel shame at nakedness.
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Even the men in the White House who seem more sentient — among them Gary D. Cohn, the director of the National Economic Council; H. R. McMaster, the national security adviser; and Jared Kushner, the White House senior adviser (and Ivanka Trump's husband) — have remained silent, too.
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David Benatar (born 1966) is a South African philosopher, academic and author. He is best known for his advocacy of antinatalism in his book Better Never to Have Been: The Harm of Coming into Existence, in which he argues that coming into existence is a serious harm, regardless of the feelings of the existing being once brought into existence, and that, as a consequence, it is always morally wrong to create more sentient beings.
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Various debris was incorporated within the tentacles to give the creature a sense of weight and fast movement. The Alphas were given a definable head area to show their status as more sentient, while receiving a different color and a bigger size compared to the Mimic grunts. Cinesite created the mechanical Mimics used in the training areas, while MPC created the Omega in a digital environment into which the effects artists composited underwater footage filmed at Leavesden's water tank. Animators created digital versions of the battle suits, at times with the soldiers inside them.
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From a game-design perspective, the goal of worldbuilding is to create the context for a story. Consistency is an important element, since the world provides a foundation for the action of a story. However, J. R. R. Tolkien described the goal of worldbuilding as creating immersion, or "enchantment" as he put it, and descriptions of the world can be wholly disconnected from the story and narrative. An uninhabited world can be useful for certain purposes, especially in science fiction, but the majority of constructed worlds have one or more sentient species.
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Niko meets Silver, a more sentient "tamed" robot, who gifts them a piece of amber, which Niko uses to journey into the next area of the world. This area, termed the "Glen", has arboreal characteristics. To aid their journey, Niko interacts with the area's residents, including the younger child Alula and older child Calamus, as well as the nature spirit Maize. Niko finally enters the urbanised third area, the "Refuge", and is directed to city library; they travel down to the city's surface to get there, meeting various characters, such as a lamplighter, along the way.
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Filming occurred from July 29 to August 18, 2013. The set for Hall's lab which is affected by the gravitonium was built on a giant gimbal so it could rotate 360°, with all the props and furniture secured to the set. FuseFX provided the episode's visual effects, including replacing the S.H.I.E.L.D. vehicles from the opening sequence with computer generated models to depict them defying gravity and being destroyed. FuseFX visual effects supervisor Kevin Lingenfelser explained that shots involving gravitonium were divided into two categories: shots where the gravitonium is "'neutral' or 'ball like'", which were animated to make the element act like a fluid; and more aggressive shots where the gravitonium envelopes Hall, which mimicked the effects of gravity while Hall was being sucked in, with "more sentient and deliberate motion" animated around that.
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