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      "permlink": "steemitboard-notify-smartking-20191214t021227000z",
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      "body": "Congratulations @smartking! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@smartking/birthday2.png</td><td>Happy Birthday! - You are on the Steem blockchain for 2 years!</td></tr></table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@smartking) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=smartking)_</sub>\n\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "memo": "Hy @smartking you just got 246 WAFRO tokens from @wafrica! We distributed to over 6 000 followers, it is tradeble at steem-engine.com! Thanks for being active member of @wafrica! HODL those token to receive more airdropped tokens each month! Check with @wafrica blog for contests, and Sunday parties on Discord!"
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      "title": "Ready Player One - Digital forms (Review)",
      "body": "![cezanne-ready-player-one.png](https://steemitimages.com/DQmcoYBnvxKEct5xTFLMP9uHBhgFTFwHwJUYsjW3XBAkUrd/ready-player-one-analyse-980x0.png)\n\n[CREDIT](https://google.com)\n\nDirected by [Steven Spielberg](https://en.wikipedia.org/wiki/Steven_Spielberg)\n\nReady Player One opens on a scene that immediately fits in the continuity of Spielberg's latest films: the young Wade Watts (Tye Sheridan) tries to find his way among the prefabricated bunk, advertising screens and car debris forming the architectural fabric of Columbus, Ohio. The spectacle is less that of the place, approached by a quick dive, than that of the way it appropriates it by a series of gestures incorporated: to bend down, to go down a staircase, to jump, etc. In fact, Spielberg's pragmatic trilogy (Lincoln, The Spy Bridge, Pentagon Papers) already told nothing other than the learning of the essentially gestural or corporal nature of any ideal, learning that led the characters to move from one understanding of the body to another: first, a body determined by a position strict in physical space, reducible to spatial coordinates and, later, to a structuring of society; then, an expressive body, made capable of organizing the given according to its projects and thus creating, in a process always recommenced with a space become a practical medium, motor significances. \nExample: when Wade rushes into a gap between two stacks of cars, we start not from the place (as a block of localizable objectivity, always already there and necessarily outside) but the active body,\n\n**Training form**\n\nIt is in the light of this learning that we must receive what is really opening the digital world, via the position of a virtual universe (the OASIS). It is that the digital does not start from a space that is already there, subject to a pre-existing location that could make it the object of a conquest, an object on the flank of which to seek subjective takes. From a spatial point of view, the digital revolution consists first - and paradoxically, in that it is a priority the very incarnation of a mathematical construction of space - in the suppression of a pure datum that makes possible the appearance of things in the manner of a pre-existing background. In other words, the perspective of subjectivation of space no longer appears possible in a universe where space is never reducible to the myth of the given, and where meaning cannot be grafted afterward onto a neutral reality. The digital universe appears as an additional test in the understanding of space, which can only appear after the initial position of the possibility of appropriating it. Digital substitutes for space to transform space into formation which complicates the temptation to refer to it in the fashion of a thing simply there, under the hand, subsisting while waiting for a use.\n\nThe peculiarity of the digital space is that it shows itself as being at the same time that it dispenses the spectacle of its self-genesis and makes it participate in its formation. It carries with it an agreement of the form where this one, far from a configuration enclosed in itself, would be permanently in track of itself that is to say, not only in movement but absolutely outside of itself. The film is indeed innervated by this perpetual self-movement of the forms: avatars whose pixels fly at the same time as they constitute a skin; places which can never be seen in a finished form, but keep open the possibility of their extension; forms (circles, triangles, lines) that intertwine in a dialog always renewed. The first characteristic of this movement is that it implies in each phase, simultaneously, opposite directions, allowing then to make each digital object a form : when digital pieces are detached from a body, it is at onceto get rid of it and to guarantee the possibility of its reformation; when a space seems to end in sharp contours, it is at once the immovable collection of the formation that engendered it (ie: the meeting of lines, lines, circles, points, etc.) and the pledging of a promise - a promise to be transmuted again or to disappear in the nothingness from which it comes.\n\n![ready-player-one-du-raccord-impossible-au-fondu.png](https://steemitimages.com/DQmPbK15FUepFcgdeqKDh2rLFMsJg3DCAfaYWd2UG2EK993/ready-player-one-du-raccord-impossible-au-fondu.png)\n\n[CREDIT](https://google.com)\n\n**Connection Impossible To Fade**\n\nTo grasp more clearly the implications of this approach, it would be necessary to return to a connection which, in the form of a fade, has opened in Spielberg a new understanding of the life of forms. This is one of the first plans of The War of the Worlds: on a leaf of a tree, a simple drop of water (which one comes, through the animation of micro-organisms, to examine the composition) is transformed for a moment into the Earth itself, which Earth will then be isolated from the leaf that made it appear to survive in the dark. Beyond a diegetic element (the smallest forms of life will help to eradicate extraterrestrials), the fade tells at least three things. First, and prosaically, it makes possible an equalization of scales by founding the infinitely large in the infinitely small. But in doing so, he acts of the dual nature of all forms, which in itself carries the possibility of the immense and that of the tiny as so many dynamic directions towards which it makes itself capable of tending. Finally, if the drop and the Earth can be connected,\n\nConcretely, this meant that Spielberg had to break with the conception of the connection that founds the specificity of his cinema. In a work so obsessed by the encounter, the connection was essentially splitting: in other words, it acted, in the passage of a face to what it turns to or what captures it, the irremediable difference with a form of pure otherness. The meeting has always been at home the spectacle of the clash between two contrary tendencies: on the one hand, the subjective effort to go towards the other; on the other, the disempowerment, imposed by the power of otherness, vis-à-vis the intentional relationship, and consequently the rupture, incarnated by the close-up dive on wide-eyed eyes, with all forms of context. (a world, a company, a third party). The connection was literally made impossible by the rule that always what I meet is more than what I was about to meet. But with the fade, it is the possibility of a common ontological flesh which seems to overflow the relation of face to face. The connection becomes possible or, more precisely: the language of the fade hatches a world that does not betray the unconditionality of the ethical experience but is direct to its measure.\n\n**Communication As A Dynamic Law**\n\nIf it does not betray it, it is because it gives itself to see as much the link as the irreducible difference (the one which opposes the big and the big, such texture and another, such gesture and such movement) between the different members of the form thus conceived. The form does not shrink the opposites one on the other but articulates them in a rhythmic movement. When a horizontal wave is transmuted into a vertical pyramid, the interlacing reduces both movements less than it supports the communicative singularities : in the foam traced by the wave, it is already the snow which is indicated, and its cylindrical groove looks like a mountain filmed from the inside, converging towards its peak, in the same way as in the snow-covered pyramid still maintains the power of the wave. It belongs to the very being to borrow qualities from its neighbors or others, so that the digital does not allow any more partition between elements, like so many partial and opposite particles, but poses the communication or the metaphor as the dynamic law of the real, which detracts from the very appearance of things. It is only in this energetic movement of communication/maintenance of difference that the encounter can be incarnated in the real and find the world.\n\nhttps://steemitimages.com/DQmRt92knpj1MeQ3mZpm86qcsp8GhW7WEdded7pemWEztQB/ready-player-one-communication-comme-loi-dynamique.png\n[CREDIT](https://google.com)\n\nThis break must be at the very foundation of Ready Player One's writing. Virtuality is indeed the condition for going beyond the face-to-face relationship: Wade, for example, is first filmed as a typical Spielbergian hero, lying on a washing machine and gazing at an image projected on the wall of a woman. in front ; but in contact with OASIS, he will become aware of the forgetfulness of the world that underlies his relationship to images by participating in the effective foundation of a community. Farther on, the digital becomes the culmination of the logic of fade in that it delegates to the things themselves the formal power of rhythmic articulation of the opposites, without it having to go through a montage necessarily splitting. The digital as an auto-genetic form is the condition of an ethical experiment where things are bound not by an external force but by a breath that is absolutely immanent to them. Equalization logic, as such, is the next step in what was started inThe Good Fat Giant, where the digital obeyed a principle of listening which allowed, by the flattening of the signifying structure of the image, each thing to make event (in the scene of capture of the dreams, for example, a colored passage rather than an insect, or in the den of the giant a droplet of water rather than a figure). Admittedly, the digital equalizer still leads things to arise, beyond any possible modal: for example, everything can be grown or animated, according to the scheme that the virtual contains in power all the possible, possible that the forms choose or not to objectify. But we must go further: things, in the very movement of their arrival, finally manage to become fully autonomous, Tintin ) as a constantly revived interaction between things that have arrogated to themselves the function defined for them, measuring their space and their time.\n\n**Digital Tragedy**\n\nIt would be necessary, however, to return a moment more on the drop-Earth of the War of the worlds : the fade, as mentioned, is articulated by a movement which it is easy to qualify as vital. But to rule univocally of its vitality would be to omit the black on which it closes itself, the way in which, to the letter, the completion of the fade makes the plunge in a bath of absence that same which gave birth to it. In fact, the autonomy of the forms (here, the autonomy of the Earth as innervatedby the meeting with the bubble), even if it would open the possibility of a fluid movement where the plastic encounters would succeed one another smoothly (in this respect, the first incursion into the virtual world of the OASIS is a perfect example), does not go without its tragic part. Since digital forms have the capacity to simultaneously include opposite directions, then the moment of empowerment, if it opens the possibility of an endogenous ethical language, is abstracted with the same intensity. Around the form, there is nothing, nothing from where it comes from and nothing towards which it is directed, swallowed that it will be in the form to come.\n\n![ready-player-one-autonomie-des-formes.png](https://steemitimages.com/DQmXDri9ojzUmFZiBZLBvprQrs1g2FDYH2nqmNexbcjNf3o/ready-player-one-autonomie-des-formes.png)\n[CREDIT](https://google.com)\n\nThis double movement of forms (between full and empty, that is to say also between vital breath and death) could only be exalted by the horizon of virtuality, because virtuality is par excellence a universe of surfaces holograms, in short, figures which, instead of giving themselves to the gaze as in a full presence, surreptitiously signal their absence. Intensifying in this respect the first experiments on motion-capture (especially in Zemeckis' Pole Express ), Spielberg is perfectly aware of the fact that a hologram joins in its own movement the presence and the absence, the appearance and disappearance. It supports the nested tension at the heart of the motion-capture, where the suppression of corporeality for the benefit of abstract movement builds a spectral world of hollow envelopes, where the movement is given to see even before being attached to some form of presence. The memory of the motion-capture , which retains only the gesture without the corporeal aim, and further the drawing without the gesture, is a memory of the absence. It converts presence into absence and brings back the absence in the digital presence, a digital presence that keeps alive, in its texture itself, the memory of its journey.\n\nhttps://steemitimages.com/DQmbTDyNKiBFkXAPKjTE5GB9RtuNWtY5xxJpwsrQLZEZAEa/cezanne-ready-player-one.png\n[CREDIT](https://google.com)\n\nThe film joins in this perspective what Maldiney, in Regard Parole Espace , wrote of Cézanne by opposing it at the same time to the Egyptian sacred art and the monochrome Song: when Egyptian sacred art is manifested \"  in the openness of 'an absolute appearance  ', and when the monochrome Song reveals things'  in the Open to their disappear Cezanne mixes abandonment and collection, expansion and contraction, in the instant of appearance-disappearance of a properly rhythmic form. What has been said of the opposite directions (as a movement supposed by the autogenetic character of the forms) becomes clear here in the light of the permanent resistance of the absence: bodies with holes (sometimes even by the eyes of a head of dead), empty (filled only with silver), mass of particles in perpetual process; places tending towards pure nothingness (thus, in particular, of the club or the ballroom of the Overlook), with the 3D like digging of the tension between the bottom without bottom and the animated figures; refusal of the present movement in favor of a seizure of the experience where it would necessarily be accompanied by its trace, as evidenced by the dance scene. The succession-recomposition of forms consists as much in a grafting, redefining at will the links of causality between things, as in a facelift, that this revival is accomplished in the newly born form or in the simple void. No wonder then that the film contains moments where the uninterrupted sequence of forms is not plastically more bearable: in an explosion of particles, it must be ended, because too much absence has been thrown into the way so that the possibility of the end (of \" game over  \") is absolutely discarded.\n\n**Virtual Archives**\n\nIt is also quite telling that the key of the film is nested in the exploration of archives: one of the main characters is an archivist, and the story is resolved at the price of a permanent return to memory traces. The movement of presence-absence finds a point of incandescence in the couple of creators of the OASIS, which literally defines the friendship, and especially its objectification in the program of virtual reality, less like the meeting of two presences than as the encounter between an archived (James Halliday), on the side of absence, and an archivist(Ogden Morrow), on the side of the present reorganization. Above all, the film has understood that the new technological media structurally upset the report to the archive, since the hierarchy nested at the foundation of any act of archiving is subsumed under a permanent test of the living present, where everything can potentially be archived. Archival dynamics (such as conservation, selection, interpretation of traces) will ultimately be thwarted by the position of a character deliberately erased from the archives: it will then open the way, in the very heart of archives, for the return of the archived repressed carried by this character. In other words, digital, as an integral archive, hypermnesic, seems not to be able to allow the intrication of the archive with the logic of arkhè , which is that of the authority of the archivist on the archive.\n\nBy appearing, under the features of James Halliday (Mark Rylance), a character who acts as if every moment archived was already interpreted, replayed, linked to an external power (here, the perspective of the contest), Spielberg act of essentially split nature temporal phenomenon as it unfolds numerically or virtually. Split, time is doubly: first, between that which announces itself as real or direct and its immediate and simultaneous interpretative recovery; then, between the dynamics of the pure, phenomenological presence, and the fact that these archive images seem literally animated by a dead person. This movement will be intensified by the end of the film, which consists in the organization of a meeting between the archive of the character and the dead but non-archived character, made present: two different incarnations of the absence which, together, will choose pure annihilation by disappearing behind a door. The extreme beauty of the scene consists precisely in the archiving of the non-archivable (pure death), and especially in the rupture itself, behind the door , with the logic of the archive. It is at this precise moment that Spielberg puts an end to the autonomy of the forms, in a definitive gesture which assimilates the rhythmic deployment of the OASIS with the almost mimetic capture of a creator imaginary innervated by the archives and turned towards the virtual one. because it finds the first structure of his temporal experience.\n\n**Power Of The Egg**\nBut, disappearing, James Halliday bequeathed to Wade a bright yellow egg, an object that devotes in just a few plans the greatness of digital. Where, in the virtual world, the egg remains an object (in short: the egg as a thing of use, as a result of a conquest), in the real world it is simply given as a ray of light, illuminating all that surrounds. We know the importance of light in Spielberg, as a sign of the advent of the absolutely other, whose very thinning immediately implies the tearing away from oneself, from the world and from any pre-constituted meaning. . But what precisely is happening here? It's first a color, a yellowmade concrete, apprehendable appreciably, untied of any consideration that would make him a mere perceived quality. It is not surprising, in this respect, that the film has replayed the Shining scene, where the corridor is literally filled with blood: what it retains is less directly the emergence of an object (the blood, which one sees afterwards that it is red) that the way in which the red, through the medium of the blood , inhabits a space and invests it. Red becomes a substance that the body goes through to feel the touch.\n\nBut the color in the film also includes an understanding of the experience, entirely related to what had been described above as the intermingling of presence and absence. To seize it, it would be necessary to return to the dance scene: on a bottom of emptiness, two bodies approach and turn around, caress and bow, tracing with each advance of the colored lines which follow their step in the infinite space. It is that any experience, if it produces a trace, ends in a chromatic event which marks its past character: thus \"Sixers\", engaged by a competing company, for whom each defeat is accompanied by a red trace that overflows the white light of their virtual reality seats. Just think back to the figuration of dreams inThe Good Big Giant : colorful powers, abstract lines that keep the dream spent in jars lit by their chromatic subsistence. Because each experience is accompanied by a color that acts as a double temporality, Spielberg proceeds to this: when nothing can be left of the experience, erased as it is by the devouring autonomy of the forms, there is only color . That's why, when you move from the virtual world to the real world, what remains is the color (or rather, the quality of the light, the rhythmic animation of a halo), the yellow color of the egg or the color violet. halos produced by the hand of Art3mis (Olivia Cooke) on the torso of Wade.\n\n![ready-player-one-couleurs.png](https://steemitimages.com/DQmRXU6TfEy6S5QfKmgwBsjQbRte2Gxo9mNWovW24jccVDx/ready-player-one-couleurs.png)\n\nIn doing so, the yellow light that illuminates Wade's hand concentrates in the slight rustling of its rays the completion of the digital learning, which could be summarized as follows: the real, finally, relates to things like to forms and not to objects. There perhaps lies the ultimate transformation of Spielberg's cinema, beyond the transition from connection to melting and autonomy of forms: in this way of doing the other no longer a figure or an object (an extraterrestrial, a ship, a stranger) but, literally, a form information, a plastic event. The other, here, is, in this light that suddenly lights up, which lights up in its own light, the language of the digital, carrying the ethical horizon on the side of the never-ending (that is to say: never totalized) meeting of forms. As always, we do not come out unscathed from the meeting with the other (that we think of the last plan of the Bridge spies or the end of Encounters of the third type ): it will no longer be possible to think the real without digital.\n\nTHANKS FOR READING You can check out my previous review on [Avengers : Infinity Wars](https://steemit.com/film/@smartking/avengers-infinity-war)",
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      "permlink": "ready-player-one-digital-forms-review",
      "title": "Ready Player One - Digital forms (Review)",
      "body": "![cezanne-ready-player-one.png](https://steemitimages.com/DQmcoYBnvxKEct5xTFLMP9uHBhgFTFwHwJUYsjW3XBAkUrd/ready-player-one-analyse-980x0.png)\n\n[CREDIT](https://google.com)\n\nDirected by [Steven Spielberg](https://en.wikipedia.org/wiki/Steven_Spielberg)\n\nReady Player One opens on a scene that immediately fits in the continuity of Spielberg's latest films: the young Wade Watts (Tye Sheridan) tries to find his way among the prefabricated bunk, advertising screens and car debris forming the architectural fabric of Columbus, Ohio. The spectacle is less that of the place, approached by a quick dive, than that of the way it appropriates it by a series of gestures incorporated: to bend down, to go down a staircase, to jump, etc. In fact, Spielberg's pragmatic trilogy (Lincoln, The Spy Bridge, Pentagon Papers) already told nothing other than the learning of the essentially gestural or corporal nature of any ideal, learning that led the characters to move from one understanding of the body to another: first, a body determined by a position strict in physical space, reducible to spatial coordinates and, later, to a structuring of society; then, an expressive body, made capable of organizing the given according to its projects and thus creating, in a process always recommenced with a space become a practical medium, motor significances. \nExample: when Wade rushes into a gap between two stacks of cars, we start not from the place (as a block of localizable objectivity, always already there and necessarily outside) but the active body,\n\n**Training form**\n\nIt is in the light of this learning that we must receive what is really opening the digital world, via the position of a virtual universe (the OASIS). It is that the digital does not start from a space that is already there, subject to a pre-existing location that could make it the object of a conquest, an object on the flank of which to seek subjective takes. From a spatial point of view, the digital revolution consists first - and paradoxically, in that it is a priority the very incarnation of a mathematical construction of space - in the suppression of a pure datum that makes possible the appearance of things in the manner of a pre-existing background. In other words, the perspective of subjectivation of space no longer appears possible in a universe where space is never reducible to the myth of the given, and where meaning cannot be grafted afterward onto a neutral reality. The digital universe appears as an additional test in the understanding of space, which can only appear after the initial position of the possibility of appropriating it. Digital substitutes for space to transform space into formation which complicates the temptation to refer to it in the fashion of a thing simply there, under the hand, subsisting while waiting for a use.\n\nThe peculiarity of the digital space is that it shows itself as being at the same time that it dispenses the spectacle of its self-genesis and makes it participate in its formation. It carries with it an agreement of the form where this one, far from a configuration enclosed in itself, would be permanently in track of itself that is to say, not only in movement but absolutely outside of itself. The film is indeed innervated by this perpetual self-movement of the forms: avatars whose pixels fly at the same time as they constitute a skin; places which can never be seen in a finished form, but keep open the possibility of their extension; forms (circles, triangles, lines) that intertwine in a dialog always renewed. The first characteristic of this movement is that it implies in each phase, simultaneously, opposite directions, allowing then to make each digital object a form : when digital pieces are detached from a body, it is at onceto get rid of it and to guarantee the possibility of its reformation; when a space seems to end in sharp contours, it is at once the immovable collection of the formation that engendered it (ie: the meeting of lines, lines, circles, points, etc.) and the pledging of a promise - a promise to be transmuted again or to disappear in the nothingness from which it comes.\n\n![ready-player-one-du-raccord-impossible-au-fondu.png](https://steemitimages.com/DQmPbK15FUepFcgdeqKDh2rLFMsJg3DCAfaYWd2UG2EK993/ready-player-one-du-raccord-impossible-au-fondu.png)\n\n[CREDIT](https://google.com)\n\n**Connection Impossible To Fade**\n\nTo grasp more clearly the implications of this approach, it would be necessary to return to a connection which, in the form of a fade, has opened in Spielberg a new understanding of the life of forms. This is one of the first plans of The War of the Worlds: on a leaf of a tree, a simple drop of water (which one comes, through the animation of micro-organisms, to examine the composition) is transformed for a moment into the Earth itself, which Earth will then be isolated from the leaf that made it appear to survive in the dark. Beyond a diegetic element (the smallest forms of life will help to eradicate extraterrestrials), the fade tells at least three things. First, and prosaically, it makes possible an equalization of scales by founding the infinitely large in the infinitely small. But in doing so, he acts of the dual nature of all forms, which in itself carries the possibility of the immense and that of the tiny as so many dynamic directions towards which it makes itself capable of tending. Finally, if the drop and the Earth can be connected,\n\nConcretely, this meant that Spielberg had to break with the conception of the connection that founds the specificity of his cinema. In a work so obsessed by the encounter, the connection was essentially splitting: in other words, it acted, in the passage of a face to what it turns to or what captures it, the irremediable difference with a form of pure otherness. The meeting has always been at home the spectacle of the clash between two contrary tendencies: on the one hand, the subjective effort to go towards the other; on the other, the disempowerment, imposed by the power of otherness, vis-à-vis the intentional relationship, and consequently the rupture, incarnated by the close-up dive on wide-eyed eyes, with all forms of context. (a world, a company, a third party). The connection was literally made impossible by the rule that always what I meet is more than what I was about to meet. But with the fade, it is the possibility of a common ontological flesh which seems to overflow the relation of face to face. The connection becomes possible or, more precisely: the language of the fade hatches a world that does not betray the unconditionality of the ethical experience but is direct to its measure.\n\n**Communication As A Dynamic Law**\n\nIf it does not betray it, it is because it gives itself to see as much the link as the irreducible difference (the one which opposes the big and the big, such texture and another, such gesture and such movement) between the different members of the form thus conceived. The form does not shrink the opposites one on the other but articulates them in a rhythmic movement. When a horizontal wave is transmuted into a vertical pyramid, the interlacing reduces both movements less than it supports the communicative singularities : in the foam traced by the wave, it is already the snow which is indicated, and its cylindrical groove looks like a mountain filmed from the inside, converging towards its peak, in the same way as in the snow-covered pyramid still maintains the power of the wave. It belongs to the very being to borrow qualities from its neighbors or others, so that the digital does not allow any more partition between elements, like so many partial and opposite particles, but poses the communication or the metaphor as the dynamic law of the real, which detracts from the very appearance of things. It is only in this energetic movement of communication/maintenance of difference that the encounter can be incarnated in the real and find the world.\n\nhttps://steemitimages.com/DQmRt92knpj1MeQ3mZpm86qcsp8GhW7WEdded7pemWEztQB/ready-player-one-communication-comme-loi-dynamique.png\n[CREDIT](https://google.com)\n\nThis break must be at the very foundation of Ready Player One's writing. Virtuality is indeed the condition for going beyond the face-to-face relationship: Wade, for example, is first filmed as a typical Spielbergian hero, lying on a washing machine and gazing at an image projected on the wall of a woman. in front ; but in contact with OASIS, he will become aware of the forgetfulness of the world that underlies his relationship to images by participating in the effective foundation of a community. Farther on, the digital becomes the culmination of the logic of fade in that it delegates to the things themselves the formal power of rhythmic articulation of the opposites, without it having to go through a montage necessarily splitting. The digital as an auto-genetic form is the condition of an ethical experiment where things are bound not by an external force but by a breath that is absolutely immanent to them. Equalization logic, as such, is the next step in what was started inThe Good Fat Giant, where the digital obeyed a principle of listening which allowed, by the flattening of the signifying structure of the image, each thing to make event (in the scene of capture of the dreams, for example, a colored passage rather than an insect, or in the den of the giant a droplet of water rather than a figure). Admittedly, the digital equalizer still leads things to arise, beyond any possible modal: for example, everything can be grown or animated, according to the scheme that the virtual contains in power all the possible, possible that the forms choose or not to objectify. But we must go further: things, in the very movement of their arrival, finally manage to become fully autonomous, Tintin ) as a constantly revived interaction between things that have arrogated to themselves the function defined for them, measuring their space and their time.\n\n**Digital Tragedy**\n\nIt would be necessary, however, to return a moment more on the drop-Earth of the War of the worlds : the fade, as mentioned, is articulated by a movement which it is easy to qualify as vital. But to rule univocally of its vitality would be to omit the black on which it closes itself, the way in which, to the letter, the completion of the fade makes the plunge in a bath of absence that same which gave birth to it. In fact, the autonomy of the forms (here, the autonomy of the Earth as innervatedby the meeting with the bubble), even if it would open the possibility of a fluid movement where the plastic encounters would succeed one another smoothly (in this respect, the first incursion into the virtual world of the OASIS is a perfect example), does not go without its tragic part. Since digital forms have the capacity to simultaneously include opposite directions, then the moment of empowerment, if it opens the possibility of an endogenous ethical language, is abstracted with the same intensity. Around the form, there is nothing, nothing from where it comes from and nothing towards which it is directed, swallowed that it will be in the form to come.\n\n![ready-player-one-autonomie-des-formes.png](https://steemitimages.com/DQmXDri9ojzUmFZiBZLBvprQrs1g2FDYH2nqmNexbcjNf3o/ready-player-one-autonomie-des-formes.png)\n[CREDIT](https://google.com)\n\nThis double movement of forms (between full and empty, that is to say also between vital breath and death) could only be exalted by the horizon of virtuality, because virtuality is par excellence a universe of surfaces holograms, in short, figures which, instead of giving themselves to the gaze as in a full presence, surreptitiously signal their absence. Intensifying in this respect the first experiments on motion-capture (especially in Zemeckis' Pole Express ), Spielberg is perfectly aware of the fact that a hologram joins in its own movement the presence and the absence, the appearance and disappearance. It supports the nested tension at the heart of the motion-capture, where the suppression of corporeality for the benefit of abstract movement builds a spectral world of hollow envelopes, where the movement is given to see even before being attached to some form of presence. The memory of the motion-capture , which retains only the gesture without the corporeal aim, and further the drawing without the gesture, is a memory of the absence. It converts presence into absence and brings back the absence in the digital presence, a digital presence that keeps alive, in its texture itself, the memory of its journey.\n\nhttps://steemitimages.com/DQmbTDyNKiBFkXAPKjTE5GB9RtuNWtY5xxJpwsrQLZEZAEa/cezanne-ready-player-one.png\n[CREDIT](https://google.com)\n\nThe film joins in this perspective what Maldiney, in Regard Parole Espace , wrote of Cézanne by opposing it at the same time to the Egyptian sacred art and the monochrome Song: when Egyptian sacred art is manifested \"  in the openness of 'an absolute appearance  ', and when the monochrome Song reveals things'  in the Open to their disappear Cezanne mixes abandonment and collection, expansion and contraction, in the instant of appearance-disappearance of a properly rhythmic form. What has been said of the opposite directions (as a movement supposed by the autogenetic character of the forms) becomes clear here in the light of the permanent resistance of the absence: bodies with holes (sometimes even by the eyes of a head of dead), empty (filled only with silver), mass of particles in perpetual process; places tending towards pure nothingness (thus, in particular, of the club or the ballroom of the Overlook), with the 3D like digging of the tension between the bottom without bottom and the animated figures; refusal of the present movement in favor of a seizure of the experience where it would necessarily be accompanied by its trace, as evidenced by the dance scene. The succession-recomposition of forms consists as much in a grafting, redefining at will the links of causality between things, as in a facelift, that this revival is accomplished in the newly born form or in the simple void. No wonder then that the film contains moments where the uninterrupted sequence of forms is not plastically more bearable: in an explosion of particles, it must be ended, because too much absence has been thrown into the way so that the possibility of the end (of \" game over  \") is absolutely discarded.\n\n**Virtual Archives**\n\nIt is also quite telling that the key of the film is nested in the exploration of archives: one of the main characters is an archivist, and the story is resolved at the price of a permanent return to memory traces. The movement of presence-absence finds a point of incandescence in the couple of creators of the OASIS, which literally defines the friendship, and especially its objectification in the program of virtual reality, less like the meeting of two presences than as the encounter between an archived (James Halliday), on the side of absence, and an archivist(Ogden Morrow), on the side of the present reorganization. Above all, the film has understood that the new technological media structurally upset the report to the archive, since the hierarchy nested at the foundation of any act of archiving is subsumed under a permanent test of the living present, where everything can potentially be archived. Archival dynamics (such as conservation, selection, interpretation of traces) will ultimately be thwarted by the position of a character deliberately erased from the archives: it will then open the way, in the very heart of archives, for the return of the archived repressed carried by this character. In other words, digital, as an integral archive, hypermnesic, seems not to be able to allow the intrication of the archive with the logic of arkhè , which is that of the authority of the archivist on the archive.\n\nBy appearing, under the features of James Halliday (Mark Rylance), a character who acts as if every moment archived was already interpreted, replayed, linked to an external power (here, the perspective of the contest), Spielberg act of essentially split nature temporal phenomenon as it unfolds numerically or virtually. Split, time is doubly: first, between that which announces itself as real or direct and its immediate and simultaneous interpretative recovery; then, between the dynamics of the pure, phenomenological presence, and the fact that these archive images seem literally animated by a dead person. This movement will be intensified by the end of the film, which consists in the organization of a meeting between the archive of the character and the dead but non-archived character, made present: two different incarnations of the absence which, together, will choose pure annihilation by disappearing behind a door. The extreme beauty of the scene consists precisely in the archiving of the non-archivable (pure death), and especially in the rupture itself, behind the door , with the logic of the archive. It is at this precise moment that Spielberg puts an end to the autonomy of the forms, in a definitive gesture which assimilates the rhythmic deployment of the OASIS with the almost mimetic capture of a creator imaginary innervated by the archives and turned towards the virtual one. because it finds the first structure of his temporal experience.\n\n**Power Of The Egg**\nBut, disappearing, James Halliday bequeathed to Wade a bright yellow egg, an object that devotes in just a few plans the greatness of digital. Where, in the virtual world, the egg remains an object (in short: the egg as a thing of use, as a result of a conquest), in the real world it is simply given as a ray of light, illuminating all that surrounds. We know the importance of light in Spielberg, as a sign of the advent of the absolutely other, whose very thinning immediately implies the tearing away from oneself, from the world and from any pre-constituted meaning. . But what precisely is happening here? It's first a color, a yellowmade concrete, apprehendable appreciably, untied of any consideration that would make him a mere perceived quality. It is not surprising, in this respect, that the film has replayed the Shining scene, where the corridor is literally filled with blood: what it retains is less directly the emergence of an object (the blood, which one sees afterwards that it is red) that the way in which the red, through the medium of the blood , inhabits a space and invests it. Red becomes a substance that the body goes through to feel the touch.\n\nBut the color in the film also includes an understanding of the experience, entirely related to what had been described above as the intermingling of presence and absence. To seize it, it would be necessary to return to the dance scene: on a bottom of emptiness, two bodies approach and turn around, caress and bow, tracing with each advance of the colored lines which follow their step in the infinite space. It is that any experience, if it produces a trace, ends in a chromatic event which marks its past character: thus \"Sixers\", engaged by a competing company, for whom each defeat is accompanied by a red trace that overflows the white light of their virtual reality seats. Just think back to the figuration of dreams inThe Good Big Giant : colorful powers, abstract lines that keep the dream spent in jars lit by their chromatic subsistence. Because each experience is accompanied by a color that acts as a double temporality, Spielberg proceeds to this: when nothing can be left of the experience, erased as it is by the devouring autonomy of the forms, there is only color . That's why, when you move from the virtual world to the real world, what remains is the color (or rather, the quality of the light, the rhythmic animation of a halo), the yellow color of the egg or the color violet. halos produced by the hand of Art3mis (Olivia Cooke) on the torso of Wade.\n\n![ready-player-one-couleurs.png](https://steemitimages.com/DQmRXU6TfEy6S5QfKmgwBsjQbRte2Gxo9mNWovW24jccVDx/ready-player-one-couleurs.png)\n\nIn doing so, the yellow light that illuminates Wade's hand concentrates in the slight rustling of its rays the completion of the digital learning, which could be summarized as follows: the real, finally, relates to things like to forms and not to objects. There perhaps lies the ultimate transformation of Spielberg's cinema, beyond the transition from connection to melting and autonomy of forms: in this way of doing the other no longer a figure or an object (an extraterrestrial, a ship, a stranger) but, literally, a form information, a plastic event. The other, here, is, in this light that suddenly lights up, which lights up in its own light, the language of the digital, carrying the ethical horizon on the side of the never-ending (that is to say: never totalized) meeting of forms. As always, we do not come out unscathed from the meeting with the other (that we think of the last plan of the Bridge spies or the end of Encounters of the third type ): it will no longer be possible to think the real without digital.\n\nTHANKS FOR READING You can check out my previous review on [Avengers : Infinity Wars](https://steemit.com/film/@smartking/avengers-infinity-war)",
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      "title": "Avengers: Infinity War",
      "body": "![avengers-infinity-war-2.jpg](https://steemitimages.com/DQmZNjoSMtfFyWZcuDxGYvG3gxowm3FAEvdCLyXeLgjeJwX/avengers-infinity-war-2.jpg)\n\n[**CREDIT**](http://google.com)\n\n*Directed By Anthony Russo And Joe Russo*\n\nIt has been announced for some time: [**Avengers: Infinity War**](https://en.wikipedia.org/wiki/Avengers:_Infinity_War), ambitious gathering of almost all the super-characters appeared in \" the Marvel film universe \" in front of a common enemy touched since several episodes, would reach dramatic peaks of a unprecedented height in the franchise (cosmic threat, dead superheroes). \n\nUpon arrival, only one of the dramatic peaks of the film will have kept that promise. \nProblem: these are the last minutes - moreover, the film ends on what is certainly his most beautiful shot: the face of the formidable antagonist Thanos, bathed in an unreal light and crossed by a vague and enigmatic smile (I do not want to deviate much here: it is official that this \"war of Infinity\" will continue in a later episode).\n\n**Why so funny?**\n\nTo arrive at this acme, it was necessary, alas, to pass by more than one hundred and forty minutes of a narration with the intensity and stakes systematically restrained by a familiar industrial method but here particularly cumbersome. We're talking about this \"Marvel touch\" that has been proven since Iron Man , which consists in permanently maintaining the connection of the public to the characters by never separating - or never from too far - the seriousness and the humor, whether in the interactions between super -heroes or in the middle of their exploits.\n \nHowever, by following the multiplication of characters, points of view and actions, the recipe's systematism becomes a real shot: the smallest emergency scene cannot do without a good word, a comic collision, a a conversation bogged down, as if the seriousness of the situation should not be allowed to prevail at any price. \n\nOne example among others: Thor must put his life in danger to restart what must allow him to build a new weapon; an acolyte objects to him \"it will kill you! To which he retorts with his superb custom \"only if I die!\" \"- moment that would be dramatically remarkable if the other, at that time, did not feel obliged by the dialogues of Marvel to answer with a comically sorry air something like\" yes ... it is the principle ... \"And everything is in order, so that until the cataclysmic end, it is almost impossible to take seriously what goes through the characters and the seriousness of what they face, while the very status of the film (that of \"The final confrontation\") would call for revising at least a little reassuring and purring dosage.\n\n![avengers-infinity-war-980x0.jpg](https://steemitimages.com/DQmUGssSmsrwUy1wyGajMdXTqMMpx7kPnboZywRXhTGBy64/avengers-infinity-war-980x0.jpg)\n[**CREDIT**](http://google.com)\n\n**Poor soap opera**\n\nAvengers: Infinity War naturally has everything of a soap opera, like the series of comics from which it is drawn. But it is a soap opera whose pages and chapters seem to turn too fast, so much it takes care to linger as fleetingly as possible on most of its adventures, or only the time of digressive exchange of valves, while a montage in automatic mode chained the sequences without worrying about any question of urgency or suspense. High time or low time, everything is worth, so nothing stands out. \n\nEven a potentially tragic emotional revelation, that of Thanos's paternal love for his adopted daughter Gamora, which he has only exploited for his own purposes, is being shipped as one scenario element among others. However, we remember this scene because it is the only one where reproduces a feeling by which the best Marvel films seduce: that of discovering a new plot of a character (Thanos will remain the most intriguing of the lot, despite some facilities writing). \nBecause the poverty of the soap opera[**Avengers: Infinity War**](https://en.wikipedia.org/wiki/Avengers:_Infinity_War) is also due to the fact that almost none of his characters arouses more than a polite interest: all known, more or less widely explored previously in the franchise, their problem is that they have their place in this story only for what we already know about them, that their interactions and mental traits do not teach us anything more, and that we will never be able to let this pre-established gaze evolve on these heroes whose various singularities do not seem, in the unifying context of this film, to really have any more importance.\n\n**Where are the superheroes of yesteryear?**\n\nHence the ultimate and scary doubt left by the neutralizing dosage that handicaps this eighteenth product - in ten years - of the Marvel Cinematic Universe: if Marvel Studios continues to distribute super heroic figures, would it not have lost in way the meaning of what defines the best heroes of fiction, what sets them apart from ordinary mortals, what makes their value but also their cross? \n\nWe remember Iron Man 2 and 3 , where the same humor was implemented as the mask of fragility (we think of Tony Stark falling into his escapades while death was gnawing him from the inside out ). Outside the MCU, Sam Raimi's Spider-Man had found a nice balance where campy lightness would never hinder the credibility of what moved the characters. And we do not forget Christopher Nolan's Batman, who not only did not laugh a lot (which some of his enemies could sneer at ), but did not compromise when he had to go to the breakout . \n\nThese are movies that are at least an awareness of the price of heroism, even - and even more so - for superheroes , a consciousness that Marvel Studios seems to have decided to write off with Avengers: Infinity War, at the expense of its flavor. The franchise has already experienced fluctuations in interest; it would be presumptuous to condemn her future by the yardstick of such a weakness, and one would like to believe that she is still capable of producing some small miracles in her next deliveries. Nevertheless, this great farandole, whose programming will have sacrificed the incarnation, will have exhibited the limits of the Marvel method more cruelly than ever before.\n\n**THANKS FOR READING** You can check out my previous review on [**Black Panther**](https://steemit.com/movies/@smartking/black-panther-is-more-than-a-movie-criticism-without-spoiler\n)",
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      "title": "Black Panther Is More Than A Movie (Criticism Without Spoiler)",
      "body": "![michael-b.-jordan-and-chadwick-boseman-in-black-panther.jpg](https://steemitimages.com/DQmWkSpZXFh8m3FjafXWC9JpEHWA3f5M4BdU4yxMn9tDbXw/michael-b.-jordan-and-chadwick-boseman-in-black-panther.jpg)\n[Credit](http://google.com)\n\n**Ryan Coogler and his sublime cast have managed their bet.**\n\nLike a symbol, 10 years after its launch with great fanfare, with the Iron Man by Jon Favreau, the Marvel Cinematic Universe (MCU for Intimate) dedicates for the first time a movie to his black superhero, Black Panther.  A feature film expected at the turn, even more than the recent Guardians of Galaxy 2 and Thor: Ragnarok, as much for its practical function (a new piece in the MCU puzzle before Infinity War ) than for its political aspect.\n\n**Black Panther vs Black Panther**\n\nBlack Panther. The term is so loaded, so connoted, that we almost forget that the character created by Stan Lee and Jack Kirby in 1966 is earlier (a few months) the Black Panther Party, this revolutionary movement that was qualified by the director of the FBI J. Edgar Hoover of \" greatest threat to national security \".\n\nA cohabitation that embarrassed Marvel to the point that the hero was briefly renamed Black Leopard to avoid confusion. Questioned by La Chose in a number of the 4 Fantastisques of 1972, La Panthere Noire itself explained its choice taking care not to offend anyone: \" I do not condemn nor support those who have taken this name, but T'Challa follows his own laws \".\n\nIn 2018, no more gazelle shame for Marvel Studios. The lucrative branch of Disney goes headlong into black pride and surfs squarely on the controversial legacy of the surname. The first visuals of the promo, started a year earlier, already showed the color with these posters taking more or less clear the mythical photos of the Black Panther, like the cliché of Huey P. Newton sitting on an African chair, a rifle in a hand, a spear in the other.  \n\n![black-panther-huey-newton.jpg](https://steemitimages.com/DQmYgUjLkrjMdKdtK6AMVajDXz6QwEuiMvwwCZVmoAmDbCn/black-panther-huey-newton.jpg)\n[Credit](http://google.com)\n\n**Authors: \nT'challa French Toast**\n\nAll this imagery is at the heart of Ryan Coogler's film. On the form as well as the background, the director of Fruitvale Station and Creed went to the end of his ideas, at least as far as he could in a Marvel movie. It reveals a sublime Wakanda, and necessarily a little kitsch, this fictional country that symbolizes what Africa could have been without the looting of its culture and its goods. His secret for not having finished like ancient Egypt? \nHide its wealth (a gigantic deposit of vibranium, the world's strongest metal) and its technological edge to the rest of the world.\n\n**A Big Bad Guy And Strong Women**\n\nAfter the death of King T'Chaka, however, the Wakanda will have to leave his reserve and his little routine. His son T'Challa (Chadwick Boseman) logically succeeds him (and recovers the powers of Black Panther), but he will find himself faced with a great dilemma, incarnated by the accultured Killmonger (masterful Michael B. Jordan), who will shake the established order by tipping the kingdom into his \"madness\" revenge. \n\nA nemesis sexy, terrifying and ambiguous, like the MCU we have unfortunately used too little. And no doubt the great success of this Black Panther who skilfully avoids wallowing in Manichaeism. With the culmination of this confession of W'Kabi (Daniel Kaluuya), the head of the borders, who sees a very bad eye the arrival of African migrants in Wakanda. \n \n![black-panther.jpg](https://steemitimages.com/DQmcoSMsKAfxqjPs53vHRfSGCbMxR3YC87QZ6ArbH8VVwWC/black-panther.jpg)\n[Credit](http://google.com)\n\nAround this duo of shock, Coogler has set up an impeccable cast, even in small roles (mention to Sterling K. Brown of This is Us ). And it gives pride of place to women, placing no less than four strong female characters as a whole: Lupita Nyong'o spy and ex-girlfriend of T'Challa, Danai Gurira the boss of the Amazonsque special forces of the country (the Dora Mijae), incredibly classy Angela Basset as Queen Mother, and young Letitia Wright (seen in Black Mirror's episode \"Black Museum\" ) bluffing in her role as Wakanda's little sister and chief engineer. And it's tasty to see Martin Freeman and Andy Serkis play the utilities amidst this almost 100% black cast. \n\nColonialism, pan-Africanism, uprooting of the black diaspora, \"black on black crime\", cultural appropriation: Coogler sweeps away all the questions, even those that disturb (blacks as well as whites). A bias that will repel some, but otherwise would have been admissible? \n\nBlack Panther is intrinsically an allegory of the black question, as the X-Men carried with them a subtext defending the gay community, but he did not forget to also address more universal themes, such as clannism, parentage and the weight of the inheritance, so as not to completely lose the other spectators.\n\nWhile it is less visually stunning than other Marvel feature films (despite the casino's enjoyable scene), Black Panther is catching up on the meaning, just like the final sequence that relies more on the psychology of the characters than on the spectacle of their confrontation. Assuming also to be much less fun (apart from a few union jokes) than his comrades, he poses resolutely as a film of superheroes dark and serious, but also hopeful, ensuring the transition perfectly with Avengers: Infinity War , which is supposed to tilt the MCU both in the dark and a new era. \n\n**THANKS FOR READING** You can check out my previous review on [JUMANJI](https://steemit.com/movies/@smartking/jumanji-welcome-to-the-jungle-green-critic)",
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      "body": "Thanks for the compliment.",
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      "title": "What is the Ripple?",
      "body": "![ripple.jpg](https://steemitimages.com/DQmbG8nKuV4cPX5L8ZFcrU8wM25ydxWXktk4Ggec8VqJG9K/ripple.jpg)\n\n\nMost of you are familiar with Bitcoin, but the cryptocurrency family extends much further than that. You have also heard of Litecoin and Ether.\n\nAnother crypto-currency causing waves in the market is ... Ripple. Although Ripple has its own currency, its value may be more visible because of its ultra-fast payment system.\n\nThis article examines Ripple in detail and explains the key aspects of this cryptocurrency in question. You will discover how Ripple works and what are the main differences between Ripple and Bitcoin.\n\nBefore diving into this, let's start with the basic question: What is Ripple?\n\n\n\n**Ripple Definition**\n\nRipple is considered a San Francisco start-up. The company has designed a payment system similar to the Blockchain. It is a payment protocol that works similarly to a payment system, a delivery network, and a currency exchange. It works with cryptocurrency, fiduciary currencies, and commodities.\n\nRipple allows customers to integrate the protocol into their own systems. The National Bank of Abu Dhabi has recently started using technology for some of its transactions, particularly for cross-border transactions. It allows its clients to transfer funds in real time.\n\nRipple uses a chain of blocks similar to Bitcoin, except that the cryptocurrency Ripple is called \" Ripples \".\n\nIn terms of market capitalization, Ripple is the third-largest cryptocurrency - after Bitcoin and Ether.\n\n**What Is The Abbreviation Of Ripple?**\n\nThe shortcut for Ripple is simply XRP. Ripple can also be combined with other currencies, as well as with USD (US Dollar) and EUR (Euro).\n\nThe number of currency pairs Ripples vs. US Dollar is, therefore, XRP / USD.\n\nIn case you do not know it already, it is now possible to trade Ripple (XRP / USD) on a risk-free demo account with Admiral Markets! Try it today ...\n\nHave you ever wondered if it was possible to speculate on the cryptocurrency market with only € 10?\n\nIt's now possible with Admiral Markets and even easy thanks to MetaTrader 5 Supreme Edition!\n\n\nIndeed, Admiral Markets now has several cryptocurrencies in its financial assets, which can be traded, such as:\n\nBitcoin CFDs (BTCUSD)\n\nCFDs Ether (ETHUSD)\n\nCFDs Litecoin (LTCUSD)\n\nCFDs Ripple (XRPUSD)\n\nCFDs Bitcoin Cash (BCHUSD)\n\n![Crypto.gif](https://steemitimages.com/DQmPiJYvaaf47SJCR63th1jgz6KrAFWryFDPDx17bJS2UWW/Crypto.gif)\n\n**Ripple (CFDs XRPUSD): The Next Crypto Currency To Explode?**\n\nHave not you ever thought that it would be interesting to bet on cryptocurrencies with very little money, hoping to see the explosion of cryptocurrency like Bitcoin?\n\nThe Mini Terminal tool of MetaTrader 5 Supreme Edition does the math for you!\n\nYou only have to decide on your acceptable loss level, which is your Stop Loss. Once you know where to place your Stop Loss, you only have:\n\nEnter the number of pips or points in the \"S / L\" part of the \"Lot Size Calculation\" included in the Mini Terminal\nEnter in the lower part \"Fixed cash risk: EUR\" the amount in euro that you are willing to risk\nClick on \"Set lots\"\nThen the Mini Terminal calculates in less than a minute the number of lots needed to represent a stop loss of 10 €, according to your criteria.\n\nNow all you have to do is click on the \"BUY\" button on the Mini Terminal of MetaTrader 5 Ultimate Edition.\n\nWe remind you that this wonderful tool is also available for MT4 with MetaTrader 4 Supreme Edition!\n\nYou can then find that your position is open on the market with a stop loss automatically representing 10 € of risk in the chart you chose.\n\nAdmiral Markets provides free and unlimited demo accounts to give you access to the real world cryptocurrency market. These accounts allow you to try trading Bitcoin CFDs or Ripple CFDs safely!\n\n**What Is The Difference Between Ripple And Bitcoin?**\n\nRipple is considered the competitor of Bitcoin and there are certain advantages. Ripple does not depend on a single company to secure and manage its transaction database. Thus, there is no waiting for block confirmations. According to Market Mogul, there is a difference between the time to settle Bitcoin and Ripple. The time to settle with Bitcoin increased, reaching 168 minutes on March 27, while Ripple took an average of 3.7 seconds. Money transfers between Spain and Mexico were undertaken by the BBVA, and it was discovered that Ripple needed only a few seconds, whereas a standard transfer would take four days to unwind.\n\nBoth cryptocurrencies share many similar characteristics, and Ripple is similar to Bitcoin with some differences:\n\n**Ripple offers a faster settlement time** : as explained above.\n\n**Ripple uses an iterative consensus process** : Bitcoin uses mining.\n\n**Currency Network and Transactions** : Bitcoin is a decentralized cryptocurrency, while Ripple is essentially a transaction network that also contains a cryptocurrency - Ripples.\n\n\n**Can you Miner Ripple?**\nNo, Ripple cannot be undermined. Ripple started with a fixed number of Ripples (XRP) and has no built-in extension, according to the rules of the Ripple protocol. Therefore, no extraction of new parts is necessary.\n\nThe total number of XRP created is 100 billion, but the XRP distribution is controlled by Ripple. This has been criticized by Bitcoin sympathizers who consider that Bitcoin has an advantage because there is no centralized control over its creation or distribution.\n\nRipple responded by announcing its intention to freeze 88% of its XRP assets, but sell one billion XRP each month. The freeze and regular flow will allow traders and investors to rely on a certain level of predictability with respect to supply.\n\n**How Does Ripple Really Work?**\n\nRipple focuses on their role in the \"global settlement network,\" which simply allows financial parties, like banks, to reduce transaction costs. At the same time, Ripple also offers an improved service with direct and instant transactions. The image below shows how Ripple allows payments to cross the globe.\n\n![reseau_ripple.jpg](https://steemitimages.com/DQmNdQTjHq93xaPs9dy3Fkzq5wKS1vwqodZ28HkEwXNr7Ks/reseau_ripple.jpg)\n\n[Source](http://ripple.com)\n\nPayments are cryptographically secure and have been designed to fit the existing infrastructure of a bank. Ripple highlights the following as its four main features:\n\n**Distribution**: banks can deal directly with each other without intermediate contact;\n\n**Security**: confidentiality of the transaction;\n\n**Evolution**: high levels of treatment;\n\n**Interoperable**: Ability to connect multiple networks with each other.\n\nThe Ripple network essentially makes payments faster - almost instantly - cheaper, more secure and with direct access. It is therefore not surprising that Ripple is increasingly being used by the banking sector, which has not capitalized as much on new technologies as on other sectors of the industry.\n\n**Ripple uses Blockchain technology?**\n\nYes, it uses a structure that processes payments in a similar way to the blockchain concept. Ripple uses a \"general sharing book to process transactions that allow it to work across borders and with any size of payment.\"\n\nRipple XRP currency helps facilitate transactions between two parties, in the event that no direct exchange is possible. XRP has no counterparty risk because it does not depend on a third party.\n\n**Ripple Logo**\n![ripple_logo.jpg](https://steemitimages.com/DQmQ5C7xA81vT1u6vV7z87JakFMQqJU6V3QuhTbtdSRycA4/ripple_logo.jpg)\n\n**Who invented Ripple**\n\nRipple is believed to have been founded by Ryan Fugger, but has experienced great development since its initial creation.\n\nRipple's growth began in 2004 when RipplePay's creation was created by Ryan Fugger. In 2011, the system was redesigned, making it faster and much more energy efficient than Bitcoin. In 2012, OpenCoin, Inc. was formed.\n\nShortly after, the Ripple Transaction protocol (RTXP) was developed based on Fugger concepts. The protocol reduces the rates and waiting times of the traditional banking system.\n\nSince 2012, Ripple has also focused on expanding the banking market.\n\n**What Does Ripple's Future Look Like?**\n\n\nQuite simply, it looks brilliant. Ripple's network is much faster in payment processing and is the subject of multiple partnerships with global companies:\n\n*60 institutions around the world, including famous companies like UBS, RBC, UniCredit and Santander.\n\n*40% of Japanese banks will be connected to Ripple.\n\n*RBS and BAML will use Ripple for retail and commercial services in 2018.\n\n*The National Bank of Abu Dhabi uses Ripple for international transactions (as mentioned before).\n\nSource: Market Mogul\n\nOf course, Ripple is not as popular as his famous counterpart Bitcoin. However, with the growing interest in cryptocurrencies in general and with the extraordinary speed of the Ripple network and the ability to offer payment solutions, it seems that Ripple will be a top candidate to become the market leader over the years. coming years. Below you can see the volume division for XRP:\n\n*By currency: Bitcoin, South Korean won, US dollar, Euro and Yuan\n\n*By market where it changes: Ploniex, Bitstamp, Kraken and Bitfinex\n\n![ripple_transactions.jpg](https://steemitimages.com/DQma5uEt4kduJmYmUccVZMeo37q7ddVm4fNLUd3f1N4uTxR/ripple_transactions.jpg)\n\nSource: Cryptocompare.com\n\n**What does Ripple rely on?**\n\nRipple works independently of any central bank in the same way as other cryptocurrencies, such as Bitcoin, Ether, and Litecoin. This is a major difference from well-known currencies like the US dollar and the euro. These currencies are disseminated and printed in the United States and the EU by the respective central banks.\n\nRipple decides the flow of XRP, which is set at one billion XRP every month.\n\n**Which banks use the Ripple?**\n\nRippleNet currently has 11 of the 100 largest banks in the world in terms of total assets as customers, which are in various stages of commercial deployment of the Ripple payment solution and this number continues to increase month after month.\n\n**Here are a few**:\n\nMUFG - the fifth-largest bank in the world with $ 2.6 trillion in assets - was one of the first customers to join RippleNet.\n\nCrédit Agricole - the 11th World Bank (and the third largest bank in Europe) with 1.82 trillion dollars of assets - is also responsible for dealing with actual remittances for its employees between France and Switzerland.\n\nFour other RippleNet members also rank among the top 20 global banks, including:\n\nBank of America\n\nAgricultural credit\n\nMizuho Financial Group\n\nSantander\n\n\nThe largest financial institutions therefore see the value of RippleNet, not only in terms of results, but also because Ripple allows to offer their customers an improved payment service allowing them to gain market share and free up capital for other investments and activities.\n\nOf the remaining 100 largest banks, according to assets worldwide, eight others are also members of RippleNet, including:\n\nUBS\n\nRBC\n\nHSBC\n\nUniCredit\n\nStandard Chartered\n\nWestpac\n\nWestern Union\n\nBMO\n\nThree banks in India, the United Arab Emirates and Singapore have also adopted the RippleNet as a means of sending cross-border funds.\n\nThese banks have announced their decision to adopt Ripple's block-based payment platform, RippleNet, as a way to transact business abroad.\n\nThese three banks being:\n\nAxis Bank\n\nStandard Chartered\n\nRakbank\n\nAxis Bank in India and Standard Chartered in Singapore will use RippleNet to borrow the \"$ 15 billion trade route\" between India and Singapore. Axis Bank will also operate the overseas payments market between Rakbank in the United Arab Emirates and India, a channel through which $ 12.6 billion flows annually.\n\nRipple's blockchain platform reduces the time and money associated with sending payments from one country to another.\n\nThe National Bank of Abu Dhabi has also announced its intention to adopt the Ripple protocol for all transactions abroad.\n\nThe National Bank of Abu Dhabi reportedly incorporated the Ripple protocol into its existing infrastructure. The result is that the bank's regional clients will have the opportunity to transfer funds to beneficiaries' accounts instantly. All their transactions will take place in real time. \n\nThe fact that the United Arab Emirates, the seat of the bank in question, is one of the world's leading remittance providers, suggests that Ripple technology will be widely used in this partnership.\n\nSeveral large banks have started testing programs and integrated Ripple into pilot projects.\n\nFor now, the big banks that use or test Ripple, like UBS, UniCredit, SAP or Western Union, use it only to make transfers between their own subsidiaries in different countries.\n\nFinally, American Express and Santander announced that they would use RippleNet to process international payments.\n\nThe San Francisco-based start-up assists financial institutions to process international payments using blockchain and collaborates with more than 100 companies including:\n\nAndreessen Horowitz\n\nGoogle Ventures\n\nAs well as banks such as:\n\nStandard Chartered\n\nBanco Santander\n\nAmerican Express\n\n**What are the risks of trading Ripple?**\n\nAs with any financial asset, there is a risk that the price will move up and down. Ripple is subject to market fluctuations, such as demand and supply. Price fluctuation, however, is what allows traders to trade.\n\nGiven the wide acceptance of Ripple as a financial network by large financial companies and banks, it seems unlikely that major disruptions will occur in the intermediate future.\n\nEach Ripple account must have a small reserve of 20 XRP with a transaction fee of 0.00001 XRP for each transaction. These actions are implemented to fight against hackers who want to overload the network. But, overall, these costs are indeed very low.\n\n**Is Ripple Legal?**\n\nThe answer is yes. The regulation varies from country to country, but you can expect to see national financial authorities interested in Ripple and other virtual currencies, possibly with regional regulators.\n\nIn addition, Ripple has refocused on the XRP markets, and Japan has already passed a law standardizing and regulating these digital currencies as BTC and XRP 10.\n\n**Can we trade Ripple safe?**\n\nYes, it is just as safe to trade as Bitcoin, Ether, Litecoin or any other commodity, for that matter. We propose to trade the pair XRP vs USD.",
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      "body": "The more time passes and the more it confirms what we thought 20 years ago: Starship Troopers, in addition to being a monument of warrior SF, is a film that is blatantly prophetic. Except that he had planted himself on one thing: his own sequels.\n\n[CREDIT](http://google.com)\n\n![starship-troopers-traitor-of-mars-photo-traitor-of-mars-1009106-large.jpg](https://steemitimages.com/DQmdPsvhynBdCHjV7QZHtcGbgvxRhE1ELmv545pxboTsTTr/starship-troopers-traitor-of-mars-photo-traitor-of-mars-1009106-large.jpg)\n\nAnd so it is 5 years after **Starship Troopers: Invasion**, already an animated film, that Shinji Aramaki gives the cover to offer us this  **Traitor of Mars**.  Except for this time, it's different, because the project was planned as a worthy continuation of Paul Verhoeven's film, even as he summoned all the main characters.\n\nThis is how we find Johnny Rico, with a look at the Big Boss in  **Metal Gear Solid**, which is unfortunately demoted because he let insects reach the Earth. Sent into the orbit of Mars to take care of young recruits, it misses the Federation attack on the planet Klendathu and has a little bad, which can be understood. \n\nExcept that here, the attack is, in fact, a diversion of an unscrupulous admiral who, to establish his power, leaves Mars in the hands of the enemy, who does not take long to attack. Sent to the red planet with his squad, Rico will have to screw up the arachnid again if he wants to see the new day get up.\n\n [CREDIT](http://google.com)\n\n![starship-troopers-traitor-of-mars-photo-traitor-of-mars.jpg](https://steemitimages.com/DQmQEUmF2VKmfHAFVtpwPze4jyA1YC9zJ7HRT7TxNVdHGsh/starship-troopers-traitor-of-mars-photo-traitor-of-mars.jpg)\n\n\n\n**AS A BUG IN THE SYSTEM**\n\nLet's say it right now, it is not with Traitor of Mars that the Starship Troopers franchise will regain its nobility, already tarnished by several DTV who kept the edgy pamphlet of Verhoeven as its warrior aspect and first degree. And that's good, again, the whole problem. Traitor of Mars, in his will of exacerbated heroism, wallows completely in the stupid battle, wishing to plunge us into the heart of a horrible war but never exceeding its status of entertainment.\n\nYet the means have been put in place to achieve this. Already technically: if it is not perfect, we are still in front of the product of very good invoice. The art direction is inspired, though a bit flat, and visually it's punchy and properly animated. Although we immediately see that only the main characters of the story have benefited from the greatest care on the part of the artists. \n\nConferencing  Casper Van Dien and  Dina Meyer to take over 20 years after the roles of Rico and Dizzy was also a great idea but illustrates the enormous paradox of the film, which he has great difficulty recovering.\n\n [CREDIT](http://google.com)\n\n![starship-troopers-traitor-of-mars-photo-traitor-of-mars-1009107.png](https://steemitimages.com/DQmRgZdoUw3HZpn5UbfvbPj3VxwjNNUnbFYP1GPbJ7kFyC8/starship-troopers-traitor-of-mars-photo-traitor-of-mars-1009107.png). \n\n \n**NO ONE IS IMMORTAL**\n\nIndeed, and this is a big problem, the film was announced as the sequel to the first opus and yet, we can not find at any time the personality of our heroes. Of course, time has passed, trials have occurred, but at no time is there that grotesque patriotic fiber that made the salt of the original film. \n\nNo, here everything is desperately first degree, as if the director, as a good fan of the film, did not understand that it was above all an acid criticism of American patriotism.\n\n [CREDIT](http://google.com)\n\n![starship-troopers-traitor-of-mars-photo-traitor-of-mars-1009109.jpg](https://steemitimages.com/DQmVHz2HpPSkmtbKpH8xZiEDb36Kf59Vg8tTEwmgLntN93z/starship-troopers-traitor-of-mars-photo-traitor-of-mars-1009109.jpg)\n\n \nThe other concern is that the scenario does not really originality for who is customary genre and clutter well-clichéd characters, like the comic sidekick, which plummets the whole. And it's a shame because we feel behind all these imposed figures coming directly from the most commercial productions of Japanimation, a real desire and a strong desire to reclaim this universe and pay its tribute to Verhoeven.\n\n As it stands, Traitor of Mars is a tasteless and uninteresting entertainment, which is still a shame.\n\n\n[CREDIT](http://google.com)\n\n![dzqeq8jbvb5sygoypqlyirrt6cm-089.jpg](https://steemitimages.com/DQmYxUgxYqFcccXxWnjFQXtvhWxu4a4eKuMyNKh8MvYE7hG/dzqeq8jbvb5sygoypqlyirrt6cm-089.jpg)\n\n\n **SUMMARY**\n\nThe effort was good but the result is clearly not up to par. Traitor of Mars, trapped by his own clichés, never manages to fascinate and find his identity. Next time maybe. \nAvailable on video since January 3, 2018.\n\n**THANKS FOR READING**",
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