Hacking Urban Space: the Agency of the Open Source City
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TUGBOAT Volume 26, Number 1 / 2005 Practical
TUGBOAT Volume 26, Number 1 / 2005 Practical TEX 2005 Conference Proceedings General Delivery 3 Karl Berry / From the president 3 Barbara Beeton / Editorial comments Old TUGboat issues go electronic; CTAN anouncement archives; Another LATEX manual — for word processor users; Create your own alphabet; Type design exhibition “Letras Latinas”; The cost of a bad proofreader; Looking at the same text in different ways: CSS on the web; Some comments on mathematical typesetting 5 Barbara Beeton / Hyphenation exception log A L TEX 7 Pedro Quaresma / Stacks in TEX Graphics 10 Denis Roegel / Kissing circles: A French romance in MetaPost Software & Tools 17 Tristan Miller / Using the RPM package manager for (LA)TEX packages Practical TEX 2005 29 Conference program, delegates, and sponsors 31 Peter Flom and Tristan Miller / Impressions from PracTEX’05 Keynote 33 Nelson Beebe / The design of TEX and METAFONT: A retrospective Talks 52 Peter Flom / ALATEX fledgling struggles to take flight 56 Anita Schwartz / The art of LATEX problem solving 59 Klaus H¨oppner / Strategies for including graphics in LATEX documents 63 Joseph Hogg / Making a booklet 66 Peter Flynn / LATEX on the Web 68 Andrew Mertz and William Slough / Beamer by example 74 Kaveh Bazargan / Batch Commander: A graphical user interface for TEX 81 David Ignat / Word to LATEX for a large, multi-author scientific paper 85 Tristan Miller / Biblet: A portable BIBTEX bibliography style for generating highly customizable XHTML 97 Abstracts (Allen, Burt, Fehd, Gurari, Janc, Kew, Peter) News 99 Calendar TUG Business 104 Institutional members Advertisements 104 TEX consulting and production services 101 Silmaril Consultants 101 Joe Hogg 101 Carleton Production Centre 102 Personal TEX, Inc. -
Downloads of Technical Information
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Nuclear Spaces: Simulations of Nuclear Warfare in Film, by the Numbers, and on the Atomic Battlefield Donald J. Kinney Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES NUCLEAR SPACES: SIMULATIONS OF NUCLEAR WARFARE IN FILM, BY THE NUMBERS, AND ON THE ATOMIC BATTLEFIELD By DONALD J KINNEY A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Donald J. Kinney defended this dissertation on October 15, 2018. The members of the supervisory committee were: Ronald E. Doel Professor Directing Dissertation Joseph R. Hellweg University Representative Jonathan A. Grant Committee Member Kristine C. Harper Committee Member Guenter Kurt Piehler Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Morgan, Nala, Sebastian, Eliza, John, James, and Annette, who all took their turns on watch as I worked. iii ACKNOWLEDGMENTS I would like to thank the members of my committee, Kris Harper, Jonathan Grant, Kurt Piehler, and Joseph Hellweg. I would especially like to thank Ron Doel, without whom none of this would have been possible. It has been a very long road since that afternoon in Powell's City of Books, but Ron made certain that I did not despair. Thank you. iv TABLE OF CONTENTS Abstract..............................................................................................................................................................vii 1. -
WARGAMES: WHEN HACKING WENT MAINSTREAM Tuesday, September 20, 2011 - 11:40 AM by Alex Goldman / PJ Vogt
WHERE TO LISTEN CONTACT US WARGAMES: WHEN HACKING WENT MAINSTREAM Tuesday, September 20, 2011 - 11:40 AM By Alex Goldman / PJ Vogt Share Tweet 9 Like 0 The concept of hacking entered the American popular imagination through a fairly unlikely medium – the Hollywood blockbuster. Specifically, the 1983 film Wargames, about a high school hacker whose computer tampering nearly starts a nuclear war. Conservative Bloggers Vindicated, Advice When WarGames was released, the way that people used for Leakers, and More computers had just dramatically changed. Computers, which had An 11-year-old and his 3D printer once been solely the province of big research universities, had Who’s gonna pay for this stuff? become small and fast enough to make their way into the homes A Journalistic Civil War Odyssey of hobbyists in the 1970's. WarGames was released during the A New Incentive for Cord Cutters lifespan of the Apple II and the IBM PC 5150, some of the first A Source for Sources truly successful mass marketed home computers. Web Only Audio Extra - TV Cord Cutters (MGM/United Artists) Angelina Jolie's Secret Test Results With IRS Scandal, Conservative Bloggers JOIN THE DISCUSSION [3] Feel Vindicated Brooke Gladstone + Cyndi Lauper WarGames trailer FEEDS On The Media : Latest Episodes (Atom) On The Media : Latest Stories (Atom) On the Media Feed (Atom) hack week Feed (Atom) On The Media Podcast However, when the film was pitched, no one really understood its premise. The script was rejected by numerous studios. According to the filmmakers, one basic problem was that no one knew what genre it fit into – the technology depicted in the movie (for instance, dial-up modems) was so new that studio representatives thought the movie only made sense as science fiction. -
Paper: Wardialing Brief
Wardialing Brief Kingpin @Stake, Inc. 196 Broadway, Cambridge, MA 02139, USA. http://www.atstake.com E-mail: [email protected] Abstract. Wardialing consists of using a computer to dial a given set of telephone numbers with a modem. Each phone number that answers with modem handshake tones and is successfully connected to is stored in a log. By searching a range of phone numbers for computers, one can find entry points into unprotected systems and backdoors into seemingly secure systems. This brief introduces the wardialing concept, examines concerns with today's network setups, and lists free and commercial software products, whitepapers, news reports, and Internet resources. Keywords: wardialing, telephony, security, modem 1 Introduction to Wardialing Wardialing, or scanning, has been a common activity in the computer underground and computer serucity industry for decades. Hollywood made wardialing popular with the 1983 movie, WarGames, in which a teenager searching for a videogame company ultimately uncovers a government nuclear war warning system [1]. Seventeen years after the mainstream was made aware of wardialing activity, the problem of unprotected dial-up systems still exists in the majority of corporations. The act of wardialing is extremely simple – a host computer dials a given range of telephone numbers using a modem. Every telephone number that answers with a modem and successfully connects to the host is stored in a log. At the conclusion of the scan, the log is reviewed and the phone numbers are individually dialed with a computer. The user then attempts to identify the systems, and, depending on the goals of the wardial, attempts system access. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
Wargames Ovvero: Come Applicare La Logica Del Paradosso E Vincere Una Guerra Impossibile
CORE Metadata, citation and similar papers at core.ac.uk Provided by Institutional Research Information System University of Turin WarGames Ovvero: come applicare la logica del paradosso e vincere una guerra impossibile “WarGames” è un film del 1983, noto in italiano anche con il sottotitolo di “Giochi di guerra”. Al di là della scarsa fantasia mostrata nella traduzione, non si può certo negare che tanto i “giochi” quanto la “guerra” siano i due elementi centrali attorno ai quali ruota l‟intera vicenda narrata nella pellicola. Il film, nonostante la sua scorrevolezza, è generalmente corretto nel presentare elementi di carattere tecnico e militare – se si eccettua qualche piccolo errore1 – e fornisce validi spunti degni di approfondimento. L‟intento di questo breve saggio consiste nell‟evidenziare alcuni aspetti che si pongono in relazione diretta con la realtà strategica della Guerra fredda, vista soprattutto dal lato statunitense. A questo verranno aggiunte anche alcune osservazioni su caratteristiche emergenti, che solo oggi hanno acquisito il vigore e la visibilità che negli anni ‟80 erano ancora in massima parte ipotetici, ma relativamente alle quali la pellicola fornisce già qualche intuizione. Ma al di là e – oserei dire – al di sopra di tutto questo, l‟elemento probabilmente più interessante consiste nella logica del paradosso che permea il film, e che di per se stessa costituisce il tassello fondante del confronto nucleare dell‟epoca bipolare. Il paradosso è stato presentato, in via più generale, come una caratteristica chiave sottesa ad una corretta concezione strategica2, e tale enfasi diviene ancora più evidente in un contesto quale quello atomico. Un ottimo pregio di “WarGames” è il cogliere questo spirito, e proprio in omaggio a tale virtù, non sottrarremo l‟applicazione della medesima logica al film stesso, ottenendone così spesso un ribaltamento di prospettiva che forse può essere utile per fare un po‟ di luce nel contesto strategico-militare di quel periodo. -
The “Tron: Legacy”
Release Date: December 16 Rating: TBC Run time: TBC rom Walt Disney Pictures comes “TRON: Legacy,” a high-tech adventure set in a digital world that is unlike anything ever captured on the big screen. Directed by F Joseph Kosinski, “TRON: Legacy” stars Jeff Bridges, Garrett Hedlund, Olivia Wilde, Bruce Boxleitner, James Frain, Beau Garrett and Michael Sheen and is produced by Sean Bailey, Jeffrey Silver and Steven Lisberger, with Donald Kushner serving as executive producer, and Justin Springer and Steve Gaub co-producing. The “TRON: Legacy” screenplay was written by Edward Kitsis and Adam Horowitz; story by Edward Kitsis & Adam Horowitz and Brian Klugman & Lee Sternthal; based on characters created by Steven Lisberger and Bonnie MacBird. Presented in Disney Digital 3D™, Real D 3D and IMAX® 3D and scored by Grammy® Award–winning electronic music duo Daft Punk, “TRON: Legacy” features cutting-edge, state-of-the-art technology, effects and set design that bring to life an epic adventure coursing across a digital grid that is as fascinating and wondrous as it is beyond imagination. At the epicenter of the adventure is a father-son story that resonates as much on the Grid as it does in the real world: Sam Flynn (Garrett Hedlund), a rebellious 27-year-old, is haunted by the mysterious disappearance of his father, Kevin Flynn (Oscar® and Golden Globe® winner Jeff Bridges), a man once known as the world’s leading tech visionary. When Sam investigates a strange signal sent from the old Flynn’s Arcade—a signal that could only come from his father—he finds himself pulled into a digital grid where Kevin has been trapped for 20 years. -
History of Wargames
History of Wargames: Toward a History Based Doctrine for Wargaming as of 6 Jan 2000 By Matthew Caffrey Send comments to [email protected] - A Congressman with a national reputation as a defense expert opposes the President's plan for military action because of the casualty levels predicted by war games. - One weapons program is canceled and another accelerated, both largely due to the results of war games. - An air component commander convinces an area CinC to change the deployment plan of a major regional plan due to problems anticipated through a war game. Our expectations of the future shape that future. Those who concern themselves with the future of warfare develop their expectations in many ways, from the study of history to the building of complex mathematical models, to the integration of both these approaches using the medium of wargaming. Without question war games shape those expectations, hence they help shape the future. Ever more powerful computers appear to promise ever better war games. Yet is the Emperor really wearing clothes? Or to use a more contemporary expression, isn't the validity of "garbage in garbage out" independent of computing power? Will war games lead or mislead us in the future? As several historians have observed, "I know of no guide to the future but the past." For almost 200 years modern war games have been providing life saving insights and fatal mirages. If these different outcomes were random there would little use in studying that history. However, as the Caffrey Cycle illustrates, history provides the raw material for anticipating cause and effect. -
Ready Player One by Ernest Cline
Ready Player One by Ernest Cline Chapter 1 Everyone my age remembers where they were and what they were doing when they first heard about the contest. I was sitting in my hideout watching cartoons when the news bulletin broke in on my video feed, announcing that James Halliday had died during the night. I’d heard of Halliday, of course. Everyone had. He was the videogame designer responsible for creating the OASIS, a massively multiplayer online game that had gradually evolved into the globally networked virtual reality most of humanity now used on a daily basis. The unprecedented success of the OASIS had made Halliday one of the wealthiest people in the world. At first, I couldn’t understand why the media was making such a big deal of the billionaire’s death. After all, the people of Planet Earth had other concerns. The ongoing energy crisis. Catastrophic climate change. Widespread famine, poverty, and disease. Half a dozen wars. You know: “dogs and cats living together … mass hysteria!” Normally, the newsfeeds didn’t interrupt everyone’s interactive sitcoms and soap operas unless something really major had happened. Like the outbreak of some new killer virus, or another major city vanishing in a mushroom cloud. Big stuff like that. As famous as he was, Halliday’s death should have warranted only a brief segment on the evening news, so the unwashed masses could shake their heads in envy when the newscasters announced the obscenely large amount of money that would be doled out to the rich man’s heirs. 2 But that was the rub. -
Music by Daft Punk Original Motion Picture Soundtrack
ORIGINAL MOTION PICTURE SOUNDTRACK MUSIC BY DAFT PUNK © Disney Enterprises, Inc. I had been listening to Daft Punk for almost ten years before I met them at the 101 Coffee Shop in Hollywood one morning in November 2007. I sat down not knowing what to expect, and I was immediately struck by their deep knowledge and love of film and particularly the sanctity in which they held Steven Lisberger’sTRON. It quickly became clear to me that this had the potential to be an exciting collaboration. With topics that ranged from Bernard Hermann to Wendy Carlos, the discussion revealed a shared desire to create a score that blended classic orchestral themes with an electronic minimalism in a way that had never been done before. I walked out knowing that there was an opportunity here to create something truly special. Now, three years later, we are in the final stages of mixing and the result has truly exceeded my high expectations. Because the score was developed in parallel with the production of the film, I’ve had the opportunity to live with it for over a year now and it never fails to thrill and inspire me as we near the finish line. I am excited for you to experience Daft Punk’s first contribution to the world of film scoring – I have a feeling it won’t be their last. Joseph Kosinski / September 2010 © Disney Enterprises, Inc. More than twenty five years ago I inspired Daft Punk with the originalTRON. With this score, that inspiration has come back to me in full measure. -
The Art of Computer Game Design the Art of Computer Game Design by Chris Crawford
The Art of Computer Game Design The Art of Computer Game Design by Chris Crawford Preface to the Electronic Version: This text was originally composed by computer game designer Chris Crawford in 1982. When searching for literature on the nature of gaming and its relationship to narrative in 1997, Prof. Sue Peabody learned of The Art of Computer Game Design, which was then long out of print. Prof. Peabody requested Mr. Crawford's permission to publish an electronic version of the text on the World Wide Web so that it would be available to her students and to others interested in game design. Washington State University Vancouver generously made resources available to hire graphic artist Donna Loper to produce this electronic version. WSUV currently houses and maintains the site. Correspondance regarding this site should be addressed to Prof. Sue Peabody, Department of History, Washington State University Vancouver, [email protected]. If you are interested in more recent writings by Chris Crawford, see the "Reflections" interview at the end of The Art of Computer Game Design. Also, visit Chris Crawford's webpage, Erasmatazz. An acrobat version of this text is mirrored at this site: Acrobat Table of Contents ■ Acknowledgement ■ Preface ■ Chapter 1 - What is a Game? ■ Chapter 2 - Why Do People Play Games? ■ Chapter 3 - A Taxonomy of Computer Games ■ Chapter 4 - The Computer as a Game Technology ■ Chapter 5 - The Game Design Sequence ■ Chapter 6 - Design Techniques and Ideals ■ Chapter 7 - The Future of Computer Games ■ Chapter 8 - Development of Excalibur ■ Reflections - Interview with Chris WSUV Home Page | Prof. -
Reconstructing the Death Star: Myth and Memory in the Star Wars Franchise
Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Electronic Theses and Dissertations Spring 5-2018 Reconstructing the Death Star: Myth and Memory in the Star Wars Franchise Taylor Hamilton Arthur Katz [email protected] Follow this and additional works at: https://digitalcommons.acu.edu/etd Recommended Citation Katz, Taylor Hamilton Arthur, "Reconstructing the Death Star: Myth and Memory in the Star Wars Franchise" (2018). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 91. This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. ABSTRACT Mythic narratives exert a powerful influence over societies, and few mythic narratives carry as much weight in modern culture as the Star Wars franchise. Disney’s 2012 purchase of Lucasfilm opened the door for new films in the franchise. 2016’s Rogue One: A Star Wars Story, the second of these films, takes place in the fictional hours and minutes leading up to the events portrayed in 1977’s Star Wars: Episode IV – A New Hope. Changes to the fundamental myths underpinning the Star Wars narrative and the unique connection between these film have created important implications for the public memory of the original film. I examine these changes using Campbell’s hero’s journey and Lawrence and Jewett’s American monomyth. In this thesis I argue that Rogue One: A Star Wars Story was likely conceived as a means of updating the public memory of the original 1977 film.