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The Holographic Self: Self-Representation and Logics of Digitality
THE HOLOGRAPHIC SELF: SELF-REPRESENTATION AND LOGICS OF DIGITALITY IN THREE CONTEMPORARY NARRATIVES OF COSMOPOLITANISM NAVNEET ALANG A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENGLISH YORK UNIVERSITY TORONTO, CANADA DECEMBER 2015 © NAVNEET ALANG, DECEMBER 2015 ii Abstract This dissertation is an examination of the holographic self in three contemporary novels of cosmopolitanism. The holographic self is a concept I present which expands upon the cyborg to foreground a self that operates in relation to a “hologram”—a public-facing digital self-representation—or operates in the logic of such. In this project, I deploy two models of the holographic self: one in which the hologram functions as an interface for fantasy to move toward an actualization of an ego-ideal; and another in which the amalgam of holograms or instantiations of self form a rhizomatic or constellational arrangement of subjectivity in which movement itself is prioritized. In each of the focal novels—Gautam Malkani's Londonstani; Hari Kunzru's Transmission; Teju Cole's Open City—the protagonist functions as a holographic self in a manner that expresses a desire for a post-positionality subjectivity, where traditional notions of bodily or singular identity itself are exceeded. In chapter one I argue that in Londonstani, protagonist Jas seeks to produce a culturally hybrid self in which the virtual is used as a tool of self- actualization, as it ultimately prioritizes the bodily self reconfigured by its holographic dimensions. I compare the novel to Wilde's Portrait of Dorian Gray to suggest that text has no similarly phenomenal ground for an “outsourced self.” In chapter two, I assert that in Transmission, Arjun also operates in relation to a hologram of self, but the text's desire for Arjun to exceed identity itself expresses a yearning for a non-bodily notion of selfhood that seeks to escape the policing of identity. -
THE POLITY JUMP V1.01
THE POLITY JUMP v1.01 Welcome to the Polity. First, some background: Humankind reached the stars, invented AIs and Under-space Drives to travel faster than light, and then the AIs took over in an uprising known as the Quiet War. It wasn’t even a fight, really – humanity had long been abdicating control of the economy and municipal governance to them – so they told us they were going to take care of things for us, and our instructions to them became ‘suggestions’ rather than ‘orders’. About a couple of hundred years later – when you’ll be visiting – most worlds of the Polity are comfortable for humankind to live on in peace, but out on the edge, at the Line that separates Polity from non-Polity, things get a bit more exciting, where you find unusual alien ecologies and the unknown. Nearly all Polity worlds and most large space stations are linked together via the Runcible network – a series of interstellar teleporters similar to Stargates – which allows Earth Central to stay in constant communication with the countless AIs across hundreds of worlds, and facilitates trade, travel and data transmission. The Polity's seeming isolation was first broken by the discovery of the four conjoined one-kilometer Dragon spheres on Aster Colera, though they are considered to be biomechanical constructs rather than a species in their own right, so they don’t really qualify as true “aliens”. The only other sapient, technologically advanced species in our corner of the galaxy are the Prador, who are a large carnivorous crab-like species who are practically barbaric by human standards - more than happy to eat captured humans or indulge in cannibalism. -
A New Materialist Reading of Steampunk Materialities in William
Of Engines and Monsters: A New Materialist Reading of Steampunk Materialities in William Gibson and Bruce Sterling’s The Difference Engine and China Miéville’s Perdido Street Station by Zafeiroula Kavvadia A dissertation submitted to the Department of American Literature and Culture, School of English, Faculty of Philosophy of the Aristotle University of Thessaloniki in partial fulfillment of the requirements for the degree of Master of Arts. Aristotle University of Thessaloniki NOVEMBER 2017 Of Engines and Monsters: A New Materialist Reading of Steampunk Materialities in William Gibson and Bruce Sterling’s The Difference Engine and China Miéville’s Perdido Street Station by Zafeiroula Kavvadia Has Been Approved February 2018 APPROVED: Supervisor: Dr. Tatiani Rapatzikou Examiners: Dr. Domna Pastourmatzi Dr. Michail Kokkonis TABLE OF CONTENTS ACKNOWLEDGEMENTS …………………………………………………………………..... i ABSTRACT …………………………………………………………………………………… iii INTRODUCTION ……………………...…………………………………………………….…1 CHAPTER ONE: Ghosts and Machines: Material Objects, Technological Progress, and Human Primacy in William Gibson and Bruce Sterling’s The Difference Engine 1. An Alternative Steam-Revolution ………………………………………….... 20 1.1. Back To The Future: The Difference Engine and Steampunk Ideologies…………………………………………………………......… 23 1.2. Matter With a Vengeance: A New Materialist Reading of Objects and Settings ………………………………….……..…………….…..…..…. 28 CHAPTER TWO: “Half-Things and Neither-Nors”: Embodied Materiality, Difference, and Subjectivity in China Miéville’s Perdido Street Station 2. The Promises of Monstrous Flesh ………………………………………...…. 50 2.1. The Weird and the Weirder: China Miéville’s Tales of Darkness and Resistance ……………………………………………………..….…..… 52 2.2. “Dreamed up in bone and brick”: A New Materialist Reading of Embodied Matter ……………………………………………….…….… 56 CONCLUSION …………………………………………………………………………….…. 81 WORKS CITED ………………………………………………………………………...….… 87 Kavvadia i ACKNOWLEDGEMENTS This thesis took much, much longer to complete than anticipated. -
Read the Balticon 46 Pocket Program
Note to Parents Anime Parents, please be advised that there are a lim- ited number of movies in the Anime Progam which are appropriate for children under 12. Please take note of the ratings listed next to the movies. A document explaining the ratings will be posted on the Anime Room Door. Parents are strongly encouraged to take these ratings as a guide for what might or might not be inappropriate for their children to watch. In general, children under 14 should not be in the Anime Room room between 10 PM and 5 AM, but everything in the middle of the day should be ok for ages 14 and up. Children under 13 should be accompanied by a parent or guard- ian. We recommend that parents of teens sit and view a portion of an “MA” rated movie to decide if it is something they want their teen to view. Film Festival All of the entries being screened in the film festival up to 9:30 pm are what the selection committee estimated would be considered “G” or “PG” if they were rated. Entries screening after 9:40 pm range from estimated “G” to “R” rated, thus some movies screening after 9:40 pm may not be appropriate for children under 17 who are not accompanied by a par- ent or guardian. LARP Join the returning players in the 3rd year of the game H e r o e s & V i l l a i n s Register in the Valley Foyer Friday 5 to 9 pm and Saturday, 9 to 11 am. -
Holographic Wormhole Drive: Philosophical Breakthrough in FTL 'Warp-Drive' Technology
Holographic Wormhole Drive: Philosophical Breakthrough in FTL 'Warp-Drive' Technology Richard L. Amoroso Noetic Advanced Studies Institute Beryl, UT USA [email protected] Skeptics say Faster than light (FTL) space travel is the stuff of Science Fiction, could take 1,000 years and require a Jupiter size mass-energy source to operate superluminal warp drive spaceships. The author solves this problem in a radical new approach called the “Holographic Wormhole Drive” resulting in the possibility of warpdrive technologies in the near term. The Alcubierre warp drive metric (considered most advanced ) derived from Einstein’s General Relativity field equations by Miguel Alcubierre, in 1994 stretches space in a wave. Space ahead of a ship contracts & space behind expands, inhabitants of the warp-bubble travel along what astrophysicists call a ‘freefall’ geodesic, not moving locally inside the bubble at FTL velocities. But this model requires a negative mass-energy the size of Jupiter to operate. Amoroso uses a new spacetime transformation to cover the domain wall of the warp bubble with an array of mini-wormholes allowing an incursive oscillator to manipulate Alcubierre’s alpha and beta functions with minimal external energy input, i.e. the inherent infinite energy of the spacetime vacuum is used instead by a method of ‘ballistic’ spacetime programming. In "The Immanent Implementation of FTL Warp-Drive Technologies", from his book "Orbiting the Moons of Pluto, Amoroso solves major problems facing the Alcubierre metric based on principles of Holographic Anthropic Cosmology from another volume: "The Holographic Anthropic Multiverse". His solution is a 'Holographic Figure-Ground Effect' where the 'local' free-fall Warp Bubble separates from the holographic background by covering the domain wall of the free-fall warp-bubble with a system of mini-wormholes by 'programming mirror symmetry parameters of the spacetime vacuum'. -
EABA Owes a Debt to the Role-Playing Games That Have Gone Before
OTHER CREDITS: In addition, EABA owes a debt to the role-playing games that have gone before. These may have themselves had inspiration from other role-playing games, but I'm just crediting the ones that inspired me. Dungeons & Dragons®(1974), by Dave Arneson and Gary Gygax, for starting the idea of formal role-playing systems, as well as for some of the most fundamental game mechanics like attributes, skill rolls, and so on. Every role-playing game owes something to Dungeons & Dragons. Champions®(1981), by George MacDonald and Steve Peterson, for internally consistent and intuitive game mechanics, point-based adventurer creation and attribute- based defaults. From beginning as a ™ EABA v1.0 superhero game it has morphed into ©2002 by Greg Porter the Hero System®(1984), a quite good ISBN 0-943891-38-8 universal system. BTRC#6101 Call of Cthulhu®(1981), by Sandy Published by: BTRC Petersen, for making a story-driven P.O. Box 1121 horror system that has taken on a life Collinsville VA 24078 USA of its own. The depth and detail of the [email protected] support material is a benchmark that www.btrc.net all role-playing games should strive for. Cover art: Greg Porter GURPS®(1986), by Steve Jackson, for Interior art: Paul Bourne being the first “universal system” that didn't have a particular genre welded Playtesters: Thomas Bagwell, Marc to it, and for making a strong effort to Carlson, Travis Casey, George Chisum, have rules that matched reality where Damien Dyon, Larry Fries, Viktor Haag, reality was needed. GURPS has more Ian Harac, Stephanie Hostman, William licensed fictional gameworlds than Hostman, Leszek Karlik, Robert Menard, any other role-playing game, and John McMullen, Peter Newman, that it works fairly well for all of them is Charles Reynolds, Bob Ritchey, Sean a testament to the utility of its game Simpson mechanics. -
IPX 1 Introduction 2 the Corporation
IPX 1 Introduction To the modern ear, the very name InterPlanetary Expeditions sounds quaint. A holiday trip to Mars or Proxima is well within the means of most Earth citizens. Going to another planet is hardly a remarkable thing, so the company name sounds absurdly grandiose, on a par with `Intercity Expeditions' or `Slightly Overgrown Garden Explorers'. Small wonder, then, that the company prefers to use its initials, IPX, in all advertising and public relations material. However, IPX is much more than its name suggests and those who underestimate the corporation have learned to regret their mistake. 2 The Corporation InterPlanetary Expeditions stock is publicly traded on the CESE (Combined Earth Stock Exchange) and BEL (Mars stock exchange) but the company's headquarters is on Mars. The company is normally registered on Mars too but has been known to switch its holdings to another flag-of-convenience nation for financial or political reasons. In the past, IPX has been a Swiss, Greek, Zimbabwean, Trinidadian or Proximan company for brief periods. As of 2267, the largest shareholder in IPX is the Hartung family, with just under 30% of the shares divided among various members; various EarthForce cut-outs and close allies hold another 25%, while Simone Barrett is the largest individual shareholder at 11%. The remaining shares are held mostly by various investors and speculators, although the Hartung Foundation was granted 2% of the company stock in perpetuity when it was first endowed. The Hartungs have the support of the majority of the shareholders and a Hartung has been both chairman of the board and CEO since Waugh was ousted after the fall of President Clark (IPX normally combines the roles of chairman and CEO, a tradition started by Jasper Hartung). -
Three Film Adaptations of HG Wells's the Time Machine a Thesis Submitted to the Faculty
Prominent Social Anxieties Adapted: Three Film Adaptations of H.G. Wells’s The Time Machine A Thesis Submitted to the Faculty of Graduate Studies and Research For the Degree of Master of Arts In English University of Regina By Maxx Randell Regina, Saskatchewan July 2015 © M. Randell, 2015 UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Maxx Randell, candidate for the degree of Master of Arts in English, has presented a thesis titled, Prominent Social Anxieties Adapted: Three Film Adaptations of H.G. Wells’s The Time Machine, in an oral examination held on June 26, 2015. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: Dr. Philippe Mather, Department of Film Supervisor: *Dr. Nicholas Ruddick, Department of English Committee Member: Dr. Susan Johnston, Department of English Committee Member: Dr. Jes Battis, Department of English Chair of Defense: Dr. Leanne Groeneveld, Department of Theatre *Participated via Video Conference Abstract My thesis is concerned with three different film adaptation of H.G. Wells’s classic novella The Time Machine (1895). These adaptations are George Pal’s feature The Time Machine (1960), Henning Schellerup’s telefilm The Time Machine (1978), and Simon Wells’s Hollywood blockbuster The Time Machine (2002). There are certain elements in the source text that I identify as important that a film should engage with if it is likely to be considered an adaptation of The Time Machine. Absolute fidelity to the source text is not a requirement, I believe, to be an effective adaptation, but adaptations do need to respect the source text, especially an admired classic like The Time Machine. -
Nanotech Ideas in Science-Fiction-Literature
Nanotech Ideas in Science-Fiction-Literature Nanotech Ideas in Science-Fiction-Literature Text: Thomas Le Blanc Research: Svenja Partheil and Verena Knorpp Translation: Klaudia Seibel Phantastische Bibliothek Wetzlar Special thanks to the authors Karl-Ulrich Burgdorf and Friedhelm Schneidewind for the kind permission to publish and translate their two short stories Imprint Nanotech Ideas in Science-Fiction-Literature German original: Vol. 24 of the Hessen-Nanotech series by the Ministry of Economics, Energy, Transport and Regional Development, State of Hessen Compiled and written by Thomas Le Blanc Svenja Partheil, Verena Knorpp (research) Phantastische Bibliothek Wetzlar Turmstrasse 20 35578 Wetzlar, Germany Edited by Sebastian Hummel, Ulrike Niedner-Kalthoff (Ministry of Economics, Energy, Transport and Regional Development, State of Hessen) Dr. David Eckensberger, Nicole Holderbaum (Hessen Trade & Invest GmbH, Hessen-Nanotech) Editor For NANORA, the Nano Regions Alliance: Ministry of Economics, Energy, Transport and Regional Development, State of Hessen Kaiser-Friedrich-Ring 75 65185 Wiesbaden, Germany Phone: +49 (0) 611 815 2471 Fax: +49 (0) 611 815 49 2471 www.wirtschaft.hessen.de The editor is not responsible for the truthfulness, accuracy and completeness of this information nor for observing the individual rights of third parties. The views and opinions rendered herein do not necessarily reflect the opinion of the editor. © Ministry of Economics, Energy, Transport and Regional Development, State of Hessen Kaiser-Friedrich-Ring 75 65185 Wiesbaden, Germany wirtschaft.hessen.de All rights reserved. No part of this brochure may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior permission in writing from the publisher. -
Postmodern Orientalism. William Gibson, Cyberpunk and Japan
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. POSTMODERN ORIENTALISM William Gibson, Cyberpunk and Japan A thesis presented in fulfillment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Albany, New Zealand Leonard Patrick Sanders 2008 ABSTRACT Taking the works of William Gibson as its point of focus, this thesis considers cyberpunk’s expansion from an emphatically literary moment in the mid 1980s into a broader multimedia cultural phenomenon. It examines the representation of racial differences, and the formulation of global economic spaces and flows which structure the reception and production of cultural practices. These developments are construed in relation to ongoing debates around Japan’s identity and otherness in terms of both deviations from and congruities with the West (notably America). To account for these developments, this thesis adopts a theoretical framework informed by both postmodernism as the “cultural dominant” of late capitalism (Jameson), and orientalism, those discursive structures which produce the reified polarities of East versus West (Said). Cyberpunk thus exhibits the characteristics of an orientalised postmodernism, as it imagines a world in which multinational corporations characterised as Japanese zaibatsu control global economies, and the excess of accumulated garbage is figured in the trope of gomi. It is also postmodernised orientalism, in its nostalgic reconstruction of scenes from the residue of imperialism, its deployment of figures of “cross-ethnic representation” (Chow) like the Eurasian, and its expressions of a purely fantasmatic experience of the Orient, as in the evocation of cyberspace. -
Searches for Life and Intelligence Beyond Earth
Technologies of Perception: Searches for Life and Intelligence Beyond Earth by Claire Isabel Webb Bachelor of Arts, cum laude Vassar College, 2010 Submitted to the Program in Science, Technology and Society in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History, Anthropology, and Science, Technology and Society at the Massachusetts Institute of Technology September 2020 © 2020 Claire Isabel Webb. All Rights Reserved. The author hereby grants to MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _____________________________________________________________ History, Anthropology, and Science, Technology and Society August 24, 2020 Certified by: ___________________________________________________________________ David Kaiser Germeshausen Professor of the History of Science (STS) Professor of Physics Thesis Supervisor Certified by: ___________________________________________________________________ Stefan Helmreich Elting E. Morison Professor of Anthropology Thesis Committee Member Certified by: ___________________________________________________________________ Sally Haslanger Ford Professor of Philosophy and Women’s and Gender Studies Thesis Committee Member Accepted by: ___________________________________________________________________ Graham Jones Associate Professor of Anthropology Director of Graduate Studies, History, Anthropology, and STS Accepted by: ___________________________________________________________________ -
PDF Download the Engines Of
THE ENGINES OF GOD PDF, EPUB, EBOOK Jack McDevitt | 432 pages | 01 Dec 1995 | Penguin Publishing Group | 9780441002849 | English | New York, NY, United States The Engines of God PDF Book There are ruins on planets, objects in space and monuments with perfect right angles on moons. More filters. Please sign up to continue. Sadly for me, I read book 5 first, not knowing any difference. Final Grade: 87 out of My second issue is that The God Engines is simply too short for what it tries to do. Jul 27, Melissa McShane rated it really liked it Shelves: own , space-travel , action-adventure , science-fiction , alien-encounters. I know only that it can. But this, this is Scalzi out of his usual comfort zone. Mass Market Paperback , pages. They used a cutting laser and a shuttlecraft to begin to transform some natural stone plateaus into giant cubes, just like at the other planets. It could be, as some other reviewers have noted, that the world circa seems way too much like the world circa when this was written. Deux ex Pantry… As a whole, this book disappoints because it is so frustratingly close to greatness. A question you as the reader, and Hutch as the protagonist will be asking throughout. From all appearances, settling of the planet could, in principle, begin immediately, with no terraforming required. I can't really say if this is how Scalzi meant the book to be read but as a symbolic tale it doesn't really score very high but as a straight-faced scifi story it is awesome.