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Reviews Paprika Satoshi Kon has truly surpassed himself with the psychedelic adventure that is Paprika. It has been compared to Miyazaki's finest works, but with a decidedly sinister edge to it; and indeed the comparison is far from undue. Kon takes the quintessentially Japanese cuteness that is so common in Studio Ghibli titles, paints it in gloriously vivid colours, and then twists it with a disorientating brand of horror that only dreams can produce. Like Akira, it is not the sort of film you can simply watch once and comprehend; it is a highly intricate creation with a multitude of layers to be unravelled on each viewing. However, Paprika does not need to be understood in order to be appreciated: it is, even at face value, a visually stunning and thought provoking delve into the workings of the inner mind. The plot is adapted from a novel of the same name by Yasutaka Tsutsui: an experimental device has been produced that allows therapists to enter the dreams of their patients. Dr Atsuko Chiba, leader of the development team for the device (known as the DC Mini) uses it, despite its incompleteness, to explore the subconscious of her patients. When she enters the dream world, she adopts a body and a personality that is the absolute antithesis of her waking self: courageous, radiant, carefree and instinctual - Paprika. It is soon revealed that the DC Minis have been stolen and are being abused to such an extent that the world of dreams and reality are blurring into a single terrifying plane of existence. She proceeds to investigate the malicious theft as both her waking self and her dream self. Phrased like this, the storyline sounds incredibly clear. In reality, it's not. Just as the characters lose their ability to distinguish between the real world and that of dreams, the same effect is achieved on the viewer. It quickly becomes difficult to tell precisely whose dream is being represented, whose personality is manifested in whose physical bo

An abstract video depicting the new "real" identity in today's world.Often,people deem online personalities as being more "fake" than the unseen person typing behind the computer.However,considering that all the different identities come from the same person,is this distinction between the real and unreal identities fair?\n\n

Avatars are often used as an online representation if a user and may or may not resemble the user's real life self.Reasons why people take on multiple identities online:freedom in the exploration of other forms of existence,opportunities for those whom have been marginalised in society to express their opinions freely without the fear of being discriminated against etc.\n\nHowever,the blurring of boundaries between the digital and real world could lead to implications such as people spending too much time on the Internet and even forgoing real life interactions with people.They submerge themselves in their online identities (sometimes possessing multiple online identities) and may develop a multi-identity syndrome if not monitored closely.

Membership systems are no remedy, and they won't stop a person who wants to disrupting your site. But they offer a way to connect a website's community to a real person, and that person to their actions. It works to limit the disinhibitory effects of online behavior (the more negative ones) and creates a subtle but important psychological difference between an anonymous visitor and a known community member.

The Internet has matured to a point where so much of one's life is online that some people need methods of self-promotion and self-protection, concepts usually associated with the imagemakers of politicians and Hollywood stars. As more employers, workers, and singles use the Internet to check someone out, the idea of managing one's online presence doesn't sound so strange.

20 percent of online daters admit to deception but an interviewing reveals that the real amount is 90 percent. Self-reported data can be unreliable, especially those from people asked to confess bad things about themselves, several researchers have sought objective ways to quantify online deception. Add community-based matchmaking to enriched virtual dating, and we have turned the Internet into the greatest yenta the world has ever known.

The vast array of data points that make up "personal information" in the age of online media are nearly impossible to quantify or neatly define. Name, address, and phone number are just the basics in a world where voluntarily posting self-authored content such as text, photos, and video has become a cornerstone of engagement in the era of the participatory Web. The more content we contribute voluntarily to the public or semi-public corners of the Web, the more we are not only findable, but also knowable.