The Educated Prey: Consequences for Exploitation and Control
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Network Aesthetics
Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor ___________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor __________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Patrick Jagoda 2010 Abstract Following World War II, the network emerged as both a major material structure and one of the most ubiquitous metaphors of the globalizing world. Over subsequent decades, scientists and social scientists increasingly applied the language of interconnection to such diverse collective forms as computer webs, terrorist networks, economic systems, and disease ecologies. The prehistory of network discourse can be -
Harpercollins Books for the First-Year Student
S t u d e n t Featured Titles • American History and Society • Food, Health, and the Environment • World Issues • Memoir/World Views • Memoir/ American Voices • World Fiction • Fiction • Classic Fiction • Religion • Orientation Resources • Inspiration/Self-Help • Study Resources www.HarperAcademic.com Index View Print Exit Books for t H e f i r s t - Y e A r s t u d e n t • • 1 FEATURED TITLES The Boy Who Harnessed A Pearl In the Storm the Wind How i found My Heart in tHe Middle of tHe Ocean Creating Currents of eleCtriCity and Hope tori Murden McClure William kamkwamba & Bryan Mealer During June 1998, Tori Murden McClure set out to William Kamkwamba was born in Malawi, Africa, a row across the Atlantic Ocean by herself in a twenty- country plagued by AIDS and poverty. When, in three-foot plywood boat with no motor or sail. 2002, Malawi experienced their worst famine in 50 Within days she lost all communication with shore, years, fourteen-year-old William was forced to drop ultimately losing updates on the location of the Gulf out of school because his family could not afford the Stream and on the weather. In deep solitude and $80-a-year-tuition. However, he continued to think, perilous conditions, she was nonetheless learn, and dream. Armed with curiosity, determined to prove what one person with a mission determination, and a few old science textbooks he could do. When she was finally brought to her knees discovered in a nearby library, he embarked on a by a series of violent storms that nearly killed her, daring plan to build a windmill that could bring his she had to signal for help and go home in what felt family the electricity only two percent of Malawians like complete disgrace. -
Jurassic Park Highlights Tour
JURASSIC PARK HIGHLIGHTS TOUR YALE PEABODY MUSEUM JUNE 2018 WELCOME TO (PEABODY’S) JURASSIC PARK • Welcome to the Peabody’s Jurassic Park tour. Over the next half hour, we are going to visit the real dinosaurs featured in the movie franchise. The Peabody’s scientists discovered the first Stegosaurus and Triceratops and we’ll see the first Tyrannosaurus rex fossil ever discovered. The Peabody has the true raptor, but the movies made a few big mistakes in bringing this dinosaur (and others) to life. But first, let’s start where the original movie begins… STOP 1 – AMBER Location: Temporary gallery before Great Hall (get specimen from IP, otherwise Ryan can provide) TOUR MATERIAL: • In one of the opening scenes of the original Jurassic Park movie, miners in the Dominican Republic are searching for amber, or fossilized tree resin. • Tree resin is a thick, sticky liquid material secreted by trees. Over millions of years, it hardens to a transparent orange stone called amber. • Sometimes, the resin covered insects and other small animals as it moved along the outside of the tree, permanently trapping them in the amber. Recently scientists have even found amber specimens containing the tail of a feather dinosaur and others with engorged ticks. • In Jurassic Park, John Hammond and his team extract the stomach contents of mosquitoes trapped in the amber, hoping that some of them had eaten before getting trapped in the resin and the fossil will contain the blood (and DNA) of dinosaurs. John Hammond and InGen use this DNA to clone all the dinosaurs in the park. -
Metaphors of Patriarchy in Orphan Black and Westworld
Feminist Media Studies ISSN: 1468-0777 (Print) 1471-5902 (Online) Journal homepage: https://www.tandfonline.com/loi/rfms20 Metaphors of patriarchy in Orphan Black and Westworld Olivia Belton To cite this article: Olivia Belton (2020): Metaphors of patriarchy in OrphanBlack and Westworld, Feminist Media Studies, DOI: 10.1080/14680777.2019.1707701 To link to this article: https://doi.org/10.1080/14680777.2019.1707701 Published online: 21 Jan 2020. Submit your article to this journal Article views: 70 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rfms20 FEMINIST MEDIA STUDIES https://doi.org/10.1080/14680777.2019.1707701 Metaphors of patriarchy in Orphan Black and Westworld Olivia Belton Leverhulme Centre for the Future of Intelligence, University of Cambridge, Cambridge, UK ABSTRACT ARTICLE HISTORY Orphan Black (2013–17) and Westworld (2016-) use their science Received 7 August 2018 fiction narratives to create metaphors for patriarchal oppression. Revised 12 November 2019 The female protagonists struggle against the paternalistic scientists Accepted 18 December 2019 and corporate leaders who seek to control them. These series break KEYWORDS away from more liberal representations of feminism on television Science fiction; television; by explicitly portraying how systemic patriarchal oppression seeks patriarchy; cyborgs; to control and exploit women, especially under capitalism. They feminism also engage with radical feminist ideas of separatism and compul- sory heterosexuality. The science fiction plots allow them to deal with feminist issues. Westworld uses computer programming as a metaphor for patriarchal social conditioning, while Orphan Black’s clones recall cyborg feminism. -
Will Dolores Pass the Dasein Test? Heidegger and Westworld
Will Dolores Pass the Dasein Test? In episode 2 of Westworld the newly-arrived guest William (last name unknown; played by Jimmi Simpson) is escorted to his changing room by a drop-dead beauty tastefully coming on to him. She looks at him and VD\V´<RXZDQWWRDVNVRDVNµWilliam: ´$UH\RX UHDO"µ6KHDQVZHUV with a smile´Well if you can·WWHOO, does it matter"µ In episode 3 the head of the Programing Division, Bernard Lowe (Jeffrey Wright), and Park Director Robert Ford (Anthony Hopkins) DUHLQ)RUG·V office. Lowe is there to discuss in private the glitches tht hve bgn to appear in the latest upgrade of the ¶hosts.·1 The conversation leads Ford to recall the beginnings of the venture, before Lowe joined the staff: ´)RUWKUHH\HDUVZHOLYHGKHUHLQWKH3DUNUHILQLQJWKHKRVWV before a single guest put a foot inside. Myself, a team of engineers, and my partner. Those earliest years were glorious. No guests, no Board meetings, just pure creation. Our hosts [the roERWV WKH ¶FUHDWLRQV·@ began to pass the 7XULQJWHVWDIWHUWKHILUVW\HDUµ What does it mean ¶to pass the Turing test·? Alan Turing called his test ´WKH LPLWDWLRQ JDPHµ 2 In his famous paper Turing first describes the game as played with three people: a man (A) and a woman (B) in one room, and an interrogator (either sex) in another. Communicating through a teleprinter, the interrogator poses questions to the two people 1 Ǯ ǯǤ six others and terrified a couple of guests (human beings) trapped in the mayhem, the exasperated Operations Manager Theresa Cullen (Sidse Babett Knudsen) barks ǣDz ǡǡ with minor improvisation. -
Population and Evolutionary Dynamics Based on Predator–Prey Relationships
Population and Evolutionary Takashi Ito*,** – Marcin L. Pilat** Dynamics based on Predator Prey Reiji Suzuki** Relationships in a 3D Takaya Arita** Nagoya University Physical Simulation Keywords Virtual creatures, 3D virtual physical environment, population and evolutionary dynamics, eco-evolutionary feedback, Abstract Recent studies have reported that population dynamics predator–prey coevolution, morphology– and evolutionary dynamics, occurring at different time scales, can be behavior coevolution affected by each other. Our purpose is to explore the interaction between population and evolutionary dynamics using an artificial life approach based on a 3D physically simulated environment in the context of predator–prey and morphology–behavior coevolution. The morphologies and behaviors of virtual prey creatures are evolved using a genetic algorithm based on the predation interactions between predators and prey. Both population sizes are also changed, depending on the fitness. We observe two types of cyclic behaviors, corresponding to short-term and long-term dynamics. The former can be interpreted as a simple population dynamics of Lotka–Volterra type. It is shown that the latter cycle is based on the interaction between the changes in the prey strategy against predators and the long-term change in both population sizes, resulting partly from a tradeoff between their defensive success and the cost of defense. 1 Introduction Evolutionary and ecological dynamics have usually been thought to influence each other asymmetrically. Evolutionary changes are usually a consequence of the environment, but they occur over time scales that are too long to affect the dynamics of population size in the short term [27]. Therefore, most ecological models ignore evolutionary changes in the conspecific or other species, assuming a separation of time scales between population dynamics and evolutionary dynamics [10]. -
Jurassfc PARK BOO BOOS
JURASSfC PARK BOO BOOS By Gregory Paul A third of a century ago, I could not convince my child- hood friend that the star of the movie and TV series Voyage to the Bottom of the Sea, that underwater Cadillac, the Seaview, was not a real submarine. What Hollywood makes up can seem so con- vincing. These days most people learn about dinosaurs via the two Jurassic Park movies. They should remember that these motion pictures are not science documentaries meant to be accurate and educational. They are just movies meant to entertain. Growing up fast - One, err, big problem in JP is posed near the beginning of the first movie. Drs Grant and Sattler are amazed to see 50 ton brachiosaurs moving across the landscape, and equal- Dr Grant knows about a predatory dinosaur that has been extinct ly enormous diplodocid sauropods stride across the big screen in 65 million years is that it can only see what moves. Be still and be The Lost World. This is a problem because it takes decades for safe. This is not a bad idea, like many carnivores your eat's optic elephants to grow to 5, or in rare cases, 10 tons. Whales grow lobes are tuned to detect moving objects. But this is no guarantee much faster, but that is because the young are fed vast quantities the same was true of Tyrannosaurus. And what if it detected prey of. nutrient dense milk. Even with genetic engineering to boost by smell? growth rates to artificial levels, none of the juvenile dinosaurs could Gumby brachiosaurs - The dinosaurs of JP are vastly superior have grown to larger than a few tons in the few years that the JP to those that have previously graced the silver screen. -
Tensions in Live-Action Roleplaying Game Design a Case Study with the MIT Assassins’ Guild by Philip Boonyew Tan
Tensions in Live-Action Roleplaying Game Design A Case Study with the MIT Assassins’ Guild by Philip Boonyew Tan B.S. Humanities Massachusetts Institute of Technology, 2001 SUBMITTED TO THE COMPARATIVE MEDIA STUDIES PROGRAM IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2003 © 2003 Philip Boonyew Tan. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author:.......................................................................................................... Department of Comparative Media Studies May 7, 2003 Certified by:...................................................................................................................... Edward Barrett Senior Lecturer in the Program in Writing and Humanistic Studies Thesis Supervisor Certified by:...................................................................................................................... Kurt Squire Research Manager, Games to Teach Project, Comparative Media Studies Thesis Supervisor Accepted by: ..................................................................................................................... William Uricchio Professor and Acting Director, Comparative Media Studies Tensions in Live-Action Roleplaying Game Design A Case Study with the MIT Assassins’ Guild by Philip Boonyew Tan Submitted to -
Five Patients in 50 Years: Revisiting the Speculations of Michael Crichton’S Medical School Nonfiction
Five Patients in 50 years: Revisiting the speculations of Michael Crichton’s medical school nonfiction Tyler D. Barrett, MA, MPS Tyler Barrett is an Assessment Clinician at the Kaiser Permanente Washington Health Research Institute, Seattle, WA. “We’re talking about what the future is; no one knows what the future is!” – Michael Crichton, 20071 uthor Michael Crichton (1942-2008) crafted con- vincing stories of speculative science and tech- nology into Hollywood blockbusters and wide Acommercial success. Throughout his career, he leveraged his medical education to construct an identity as an au- thority on science. In merging facts and scientific processes with plausible speculation, he earned a reputation for fore- sight intermittently at odds with scientific accuracy. By December 1969, the 27-year-old Crichton had al- picture industry for film adaptation. Among them was ready written 10 novels, published mostly under pseud- The Andromeda Strain, which became a New York Times onyms from the 1960s to early 1970s. Three of the Best Seller. By his own admission, Crichton was enjoy- novels had recently been purchased by the motion ing his success and recognition as an author, with trips 8 The Pharos/Winter 2021 to Hollywood and meetings with high-profile entertain- was followed by two additional Lange potboilers, and a ment executives.2. He was, at the time, also a fourth-year crime fiction collaboration with his brother under the medical student at Harvard completing clinical rotations alias Michael Douglas. at Massachusetts General Hospital. When he did return to publishing as Michael Crichton, in 1970, it was for Five Patients: The Hospital Explained, Medical school bookends a work of educative nonfiction interspersed with specu- Crichton’s experiences in medical school were both lation. -
Reading List
PLAGUES IN MAN ISC 2937, R. H. REEVES Reading List Required Reading: 1) Kruif, P. d. 1926. Microbe Hunters. Harcourt Brace, Orlando. 2) Oldstone, M. B. A. 1998. Viruses, Plagues, and History. Oxford University Press, New York. 3) Rhodes, R. 1997. Deadly Feasts. Simon and Schuster, New York. Supplemental Reading - Fiction (select one): 1) Anderson, L.H. Fever 1793. AND Myers, A. Graveyard Girl 2) Benson, A. 1997. The Plague Tales. Dell Publishing, New York 3) Brooks, G. 2001. Year of Wonders: A Novel of the Plague. Penguin Books, New York. 4) Camus, A. 1948. The Plague. (Published by Vintage International in 1991.) 5) Case, J. 1998. The First Horseman. Random House, New York 6) Cook, R. 1996. Contagion. G. P. Putnam's Sons, New York 7) Cook, R. 1987. Outbreak. G. P. Putnam's Sons, New York 8) Crichton, M. 1969. The Andromeda Strain. Knopf, New York 9) Crichton, M. 2002. Prey. HarperCollins, New York 10) Defoe, D. 1722. A Journal of the Plague Year. (in 2001 published by Modern Library Classics). 11) Fisher, R. D. 2000. The Plague Merchants. Writer's Showcase Press, New York 12) Fujii, J. N. 2000. Viral Consequences. Writer's Showcase Press, New York 13) Gerritsen, T. 1997. Life Support. Pocket Books, New York. 14) Ludlum, R. 2002. The Cassandra Compact. St. Martins Paperbacks, New York 15) Lynch, P. 1995. Carriers. Berkley Books, New York. 16) Lynch, P. 1998. Omega. Signet, New York. 17) Marr, J. & J. Baldwin 1998. The Eleventh Plague. HarperCollins, New York 18) Ovellette, P. 1997. The Third Pandemic. Pocket Books, New York. -
Personal Finance: Economic Citizenship and Financial Form in the Contemporary Novel
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 Personal Finance: Economic Citizenship and Financial form in the Contemporary Novel Laura Finch University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the American Literature Commons, Comparative Literature Commons, and the Literature in English, North America Commons Recommended Citation Finch, Laura, "Personal Finance: Economic Citizenship and Financial form in the Contemporary Novel" (2016). Publicly Accessible Penn Dissertations. 1714. https://repository.upenn.edu/edissertations/1714 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1714 For more information, please contact [email protected]. Personal Finance: Economic Citizenship and Financial form in the Contemporary Novel Abstract My dissertation, “Personal Finance: Economic Citizenship and Financial Form in the Contemporary Novel” theorises the novel’s engagement with the post-1970s financialisation of the economy from the ground up. Contrary to the dominant perception of finance as a turn away from the solidity of industry and production in favour of a realm of hyperbolic abstraction, finance capital emerges in this project as a thickly material concern. My writing follows the money, tracking the way that finance is outedr through social forms: urban planning, philanthrocapitalism, migrant access to citizenship in global cities, and the fleshy finance of corporate -
Globalization, Postcolonialism, and Science Fiction: Nomadic Transgressions
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Brock University Digital Repository Globalization, Postcolonialism, and Science Fiction: Nomadic Transgressions Malisa Kurtz Interdisciplinary Humanities PhD Program Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Humanities, Brock University St. Catharines, Ontario © 2016 While speculative fiction has not yet fully realized its transgressive potential, dominated as it has been by white, male, techno-fantasies—Westerns and the White Man’s Burden in Outer Space—there is still a strong undercurrent of writing that questions and subverts dominant paradigms and persists in asking uncomfortable questions. No other literature, to my knowledge, has written with so much passion about technological and social issues, nuclear war, or genetic engineering. Vandana Singh, “A Speculative Manifesto” ABSTRACT Globalization, Postcolonialism, and Science Fiction: Nomadic Transgressions By Malisa Kurtz This dissertation seeks to establish science fiction as a critical framework for interrogating contemporary neocolonial structures. Specifically, I examine the ways an emerging subgenre of “postcolonial science fiction” provides valuable conceptual tools for imagining what postcolonial relations might look like in an era defined by globalization and multinational capitalism. By linking a critique of the genre’s colonial drive to the logic of advanced capitalism, postcolonial science fiction offers a critical lens through which to examine the continuation of contemporary neocolonial structures. For example, postcolonial science fiction questions several of the assumptions that underpin science fiction, including the genre’s colonial gaze, the appeal to an ideology of progress, focus on the “future” and the construction of an assumed cosmopolitan future, and an implicit faith in technological solutions or the inclination towards techno-optimism.