DOCSLIB.ORG

Parking Garage Management and Operating Agreement Pier 40

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Parking Garage Management and Operating Agreement Pier 40 Parking Garage 353 West Street New York City, NY 10014-3674 Contract No. F5220 TABLE OF CONTENTS Section Page 1. Definitions 1 2. Engagement 3 3. Term of Agreement 5 4. Staff 6 5. Hours of Operation and Parking Rates 10 6. Management Fee, Deposit of Parking Revenues and Payment Terms 10 7. Incentive Management Fee 12 8. Costs of Operations, Expenses of the Operator, and Operator’s 13 Itemized Statements 9. Controlling Costs of Operations and Budget Approvals 16 10. Compliance with Laws 17 11. Maintenance And Purchase Of Equipment, And Security 19 12. Maintenance and Repairs of Garage 20 13. Receipts, Audits, Cash Deposits, Disbursements and Controls 21 14. Insurance 26 15. Indemnification 30 16. Access 32 17. Capital Improvements and Equipment 33 18. Procurement of Bids, Services and Goods; Tax Exemption 35 19. Meetings; Approvals 36 20. Assignment 37 Hudson River Park Trust Page 1 of 4 Table of Contents Section Page 21. Defaults; Cancellation and Termination 37 22. Permits and Licenses 39 23. Sales and Parking Taxes 39 24. Marketing Activities 40 25. Telephone and Internet Service 40 26. Free Parking, Exclusive Parking Area, and Reduced Rate Parking 41 27. Governing Law, Jurisdiction, Controversies 43 28. Set-Off Rights 43 29. MacBride Fair Employment Principles 43 30. Communications 44 31. Survival 44 32. Entire Agreement/Modification 44 33. Benefits and Burdens 45 34. No Waiver 45 35. Conflict of Interest 45 36. Non-Collusive Bidding Requirement 46 37. Omnibus Procurement Act of 1992 46 38. International Boycott Prohibition 47 39. Severability 47 40. Confidentiality 47 41. Acceptance of Final Payment; Release and Discharge 48 42. No Arbitration 48 Hudson River Park Trust Page 2 of 4 Table of Contents Section Page 43. Service of Process 48 44. Interest of Others 49 45. Identifying Information and Privacy Notification 49 46. Property Loss, Damage 50 47. Disclosure of Lobbyists 50 48. Inability to Perform 50 49. No Property Interest 51 50. Penalties for Non-Performance 51 51. Operator as Independent Contractor 51 Hudson River Park Trust Page 3 of 4 Table of Contents APPENDICES APPENDIX A: Aerial Photographs and Plans of the Garage APPENDIX B: Certain Garage Duties and Obligations of Operator APPENDIX C: Parking Rates, 2015 APPENDIX D: Management Fee APPENDIX E: Expenses of the Operator APPENDIX F: Budget APPENDIX G: Approved Staffing Schedule APPENDIX H: Job Descriptions and Qualifications APPENDIX I: Required Monthly and Annual Reports APPENDIX J: Inventory of Existing Equipment, Materials and Supplies APPENDIX K: Penalties for Non-Performance Hudson River Park Trust Page 4 of 4 Table of Contents PARKING GARAGE MANAGEMENT AND OPERATING AGREEMENT THIS AGREEMENT (“Agreement”) made as of ________between the HUDSON RIVER PARK TRUST, a New York public benefit corporation, having an address at Pier 40, 353 West Street, Suite 201, New York, New York 10014 (“Trust”), and ________________________________________________________________ (“Operator”, and together with the Trust, the “Parties”). RECITALS: WHEREAS, the Trust, pursuant to the Hudson River Park Act, Chapter 592 of the laws of 1998 of the State of New York (as amended) (“Act”), is responsible for the development, operation and maintenance of Hudson River Park and the improvements thereon (“Park”), which is located along West Street in the Borough of Manhattan, New York, and WHEREAS, the Act permits the use of Pier 40, located in the Park at 353 West Street (“Site”), for the parking of passenger cars and other commercial uses; and WHEREAS, the Trust seeks to operate, maintain and improve the existing parking garage located at Pier 40 as delineated in Appendix A hereof (“Garage”); and WHEREAS, the Trust desires to engage the Operator to manage, maintain, and operate the Garage and the Operator desires to manage, maintain, and operate the Garage on the terms and conditions set forth herein. NOW, THEREFORE, the Trust and the Operator hereby agree as follows: 1. DEFINITIONS 1.1. Capitalized terms used herein shall have the meanings ascribed to them for the purpose of interpreting the Agreement. 1.2. “Budget” means the Operator’s estimation of Parking Revenues, Costs of Operations (including Parking Tax), and Management Fee. The initial Budget is attached hereto as Appendix F. 1.3. “Trust” has the meaning set forth in the Preamble. 1.4. “Business Day” means any day other than a Saturday or Sunday or a legal holiday on which national banking associations in New York, New York are authorized or delegated by law, governmental decree or executive order, to be closed. Hudson River Park Trust Page 1 January 6, 2020 Draft 3 Parking Garage Management and Operating Agreement 1.5. “City” means the City of New York. 1.6. “Costs of Operations” means the reimbursable costs, fees, and expenses incurred and paid by the Operator in connection with the management, maintenance, and operation of the Garage as set forth in Section 8.1 of the Agreement. 1.7. “Emergency” means an imminent threat to public health, welfare or safety or to property in which the Trust has an interest. 1.8. “Expenses of the Operator” means all costs, fees, and expenses that are incurred and paid by the Operator that are not Costs of Operations as described in Section 8.2 and Appendix E of the Agreement. 1.9. “Garage” has the meaning set forth in the Recitals. 1.10. “Hazardous Materials” means the following: Flammable explosives or radioactive materials; Petroleum products or petroleum hydrocarbons, including, but not limited to, gasoline, diesel, oil, grease, organic lead, benzene, toluene, ethyl benzene, halocarbons, xylene, cadmium, chromium, lead and zinc products; and Any other chemical, paint, material, substance or other matter of any kind whatsoever that is prohibited, limited or regulated or designated toxic or hazardous by any federal, state, county, regional or local authority or legislation, and any and all regulations promulgated from time to time under the foregoing. 1.11. “Management Fee” has the meaning set forth in Section 6.1 of the Agreement. 1.12. “Management Statement” has the meaning set forth in Section 8.5 of the Agreement. 1.13. “New Hires” means any employee that has not completed their labor union probationary period and has less than thirty (30) days of job experience after the end of the probationary period. 1.14. “Operating Account” has the meaning set forth in Section 6.4 of the Agreement. 1.15. “Operating Reserve” has the meaning set forth in Section 6.5 of the Agreement. 1.16. “Operator” has the meaning set forth in the Preamble. Hudson River Park Trust Page 2 January 6, 2020 Draft 3 Parking Garage Management and Operating Agreement 1.17. “Parking Rates” means the parking rates detailed in Section 5.3 of the Agreement. 1.18. “Parking Revenues” means gross revenues, including without limitation, from parking fees, income, receipts, fees, proceeds and other forms of consideration or sums of any description, received or earned or derived by Operator from its management, maintenance and operations at the Garage whether directly or through any of its subtenants, sub-operators, occupants, concessionaires, licensees or vending, token or coin machine operators. Notwithstanding the foregoing, the Parking Revenues shall not include any transaction fee arising from third party aggregators. 1.19. “Parking Tax” means the parking tax described in Section 13.16 of the Agreement. 1.20. “Site” has the meaning set forth in the Recitals. 1.21. “Term” means the period of time commencing on the Commencement Date and expiring on the Expiration Date as provided in Section 3.1 of the Agreement. 1.22. “Uncollected Tickets” means those tickets that are issued by a ticket issuing machine at the Garage and are: Missing and not associated with a lost ticket form completed by the customer; Missing and not associated with reported acts of intentional theft involving breaking of gates, or assault of a cashier; or Missing and not as a result of an emergency situation such as fire, chemical spill, collapse, acts of terrorism, police action, etc. 2. ENGAGEMENT 2.1. The Trust hereby engages the Operator, and the Operator hereby accepts engagement by the Trust, to manage, maintain and operate the Garage as a parking facility in accordance with the terms and conditions set forth herein. 2.2. The Operator shall provide all personnel necessary for the proper management, maintenance and operation of the Garage, including without limitation, off-Site executive and supervisory personnel. 2.3 The Operator shall maintain a full complement of on-site staff as set forth in Appendix G. All on-site staff on vacation, holiday, or other benefit days off shall be replaced by similarly trained and competent replacement staff that shall be paid at straight-time (no overtime) hours. The sole exception to this Hudson River Park Trust Page 3 January 6, 2020 Draft 3 Parking Garage Management and Operating Agreement requirement is for replacement staff that replace on-site staff for a one (1) day illness. 2.4 The duties and obligations of the Operator include, without limitation: 2.4.1 The timely collection and remittal of Parking Revenues as provided in Section 6.2 of the Agreement and the payment of Costs of Operations as provided in Section 8.1 of the Agreement; 2.4.2 The “Certain Garage Duties and Obligations of Operator” detailed in Appendix B of the Agreement; 2.4.3 Enforcing applicable warranties for goods and services procured by the Operator for the Garage and maintaining updated copies of all warranties; 2.4.4 Optimizing the effectiveness of the Garage revenue control systems; 2.4.5 Performing periodic parked vehicle inventories to identify any unauthorized, unidentified and/or unpaid vehicle within the Garage in accordance with established inventory and follow-up procedures, including but not limited to, the Memorial Day holiday weekend, Independence Day holiday weekend, Labor Day holiday weekend, and the weekend following Thanksgiving; 2.4.6 Produce a standard operations, procedure and audit manual (“SOPAM”) specifically tailored for the Garage within sixty (60) days of the execution of the Agreement for the Trust’s review and approval.
Recommended publications
  • Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe

    Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe

    “INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing.
  • 68: Protest, Policing, and Urban Space by Hans Nicholas Sagan A

    68: Protest, Policing, and Urban Space by Hans Nicholas Sagan A

    Specters of '68: Protest, Policing, and Urban Space by Hans Nicholas Sagan A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Architecture in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Galen Cranz, Chair Professer C. Greig Crysler Professor Richard Walker Summer 2015 Sagan Copyright page Sagan Abstract Specters of '68: Protest, Policing, and Urban Space by Hans Nicholas Sagan Doctor of Philosophy in Architecture University of California, Berkeley Professor Galen Cranz, Chair Political protest is an increasingly frequent occurrence in urban public space. During times of protest, the use of urban space transforms according to special regulatory circumstances and dictates. The reorganization of economic relationships under neoliberalism carries with it changes in the regulation of urban space. Environmental design is part of the toolkit of protest control. Existing literature on the interrelation of protest, policing, and urban space can be broken down into four general categories: radical politics, criminological, technocratic, and technical- professional. Each of these bodies of literature problematizes core ideas of crowds, space, and protest differently. This leads to entirely different philosophical and methodological approaches to protests from different parties and agencies. This paper approaches protest, policing, and urban space using a critical-theoretical methodology coupled with person-environment relations methods. This paper examines political protest at American Presidential National Conventions. Using genealogical-historical analysis and discourse analysis, this paper examines two historical protest event-sites to develop baselines for comparison: Chicago 1968 and Dallas 1984. Two contemporary protest event-sites are examined using direct observation and discourse analysis: Denver 2008 and St.
  • Duplicity: Exploring the Many Faces of Gotham

    Duplicity: Exploring the Many Faces of Gotham

    Duplicity: Exploring the many faces of Gotham “And man shall be just that for the overman: a laughing stock or a painful embarrassment.” - Friedrich Nietzsche, Also Sprach Zarathustra The Dark Knight, Christopher Nolan’s follow up to 2005’s convention- busting Batman Begins, has just broken the earlier box office record set by Spiderman 3 with a massive opening weekend haul of $158 million. While the figures say much about this franchise’s impact on the popular imagination, critical reception has also been in a rare instance overwhelmingly concurrent. What is even more telling is that the old and new opening records were both set by superhero movies. Much has already been discussed in the media about the late Heath Ledger’s brave performance and how The Dark Knight is a gritty new template for all future comic-to-movie adaptations, so we won’t go into much more of that here. Instead, let’s take a hard and fast look at absolutes and motives: old, new, black, white and a few in between. The brutality of The Dark Knight is also the brutality of America post-9/11: the inevitable conflict of idealism and reality, a frustrating political comedy of errors, and a rueful Wodehouseian reconciliation of the improbable with the impossible. Even as the film’s convoluted and always engaging plot breaks down some preconceptions about the psychology of the powerful, others are renewed (at times without logical basis) – that politicians are corruptible, that heroes are intrinsically flawed, that what you cannot readily comprehend is evil incarnate – and it isn’t always clear if this is an attempt at subtle irony or a weary concession to formula.
  • Fire Blight Fire Blight Is One of the Most Destructive Diseases of Apple and Erwinia Amylovora (Burrill) Winslow Pear Trees

    Fire Blight Fire Blight Is One of the Most Destructive Diseases of Apple and Erwinia Amylovora (Burrill) Winslow Pear Trees

    Disease Identification Sheet No. 03 (revised) 1994 _TR_E_E_F_R_U_IT_C_R_O_P_S_f-M ~:tgmted CORNELL COOPERATIVE EXTENSION 1 Sanagement Fire Blight Fire blight is one of the most destructive diseases of apple and Erwinia amylovora (Burrill) Winslow pear trees. Outbreaks are sporadic in most parts of the North­ Wayne F. Wilcox east, but can cause extensive tree damage when they do occur. Therefore, the necessary intensity of control programs will vary Department of Plant Pathology, NYS Agricultural considerably for different plantings and in different years, de­ Experiment Station at Geneva, Cornell University pending on individual orchard factors and weather conditions. Fig.1. Fig.2. Fig. 3. Fig. 5. Fig. 4. Fig. 8. Fig. 6. Fig. 7. Symptoms associated with suckers, and it appears that many develop when bacteria move systemically from scion infections down Fire blight produces several different types of symptoms, ?e­ into the rootstock. The factors that influence this systemic pending on what plant parts are attacked and when. The f1rst movement are unknown. symptom to appear, shortly after bloom, is that of blossom blight. In the early stages of infection, blossoms appear water­ soaked and gray-green but quickly turn brown or black; gener­ Control ally, the entire cluster becomes blighted and killed (Fig. 1). The Fire blight is best controlled using an integrated approach that most obvious symptom of the disease is the shoot blight phase, combines (a) horticultural practices designed to minimize tree which first appears one to several weeks after petal fall. The susceptibility and disease spread; (b) efforts to reduce the leaves and stem on young, succulent shoot tips turn brown or amount of inoculum in the orchard; and (c) well-timed sprays of black and bend over into a characteristic shape similar to the bactericides to protect against infection under specific sets of top of a shepherd's crook or candy cane (Fig.
  • Redeveloping the Distillery District, Toronto

    Redeveloping the Distillery District, Toronto

    Place Differentiation: Redeveloping the Distillery District, Toronto by Vanessa Kirsty Mathews A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Geography University of Toronto © Copyright by Vanessa Kirsty Mathews 2010 Place Differentiation: Redeveloping the Distillery District, Toronto Doctor of Philosophy Vanessa Kirsty Mathews, 2010 Department of Geography University of Toronto Abstract What role does place differentiation play in contemporary urban redevelopment processes, and how is it constructed, practiced, and governed? Under heightened forms of interurban competition fueled by processes of globalization, there is a desire by place- makers to construct and market a unique sense of place. While there is consensus that place promotion plays a role in reconstructing landscapes, how place differentiation operates – and can be operationalized – in processes of urban redevelopment is under- theorized in the literature. In this thesis, I produce a typology of four strategies of differentiation – negation, coherence, residue, multiplicity – which reside within capital transformations and which require activation by a set of social actors. I situate these ideas via an examination of the redevelopment of the Gooderham and Worts distillery, renamed the Distillery District, which opened to the public in 2003. Under the direction of the private sector, the site was transformed from a space of alcohol production to a space of cultural consumption. The developers used a two pronged approach for the site‟s redevelopment: historic preservation and arts-led regeneration. Using a mixed method approach including textual analysis, in-depth interviews, visual analysis, and site observation, I examine the strategies used to market the Distillery as a distinct place, and the effects of this marketing strategy on the valuation of art, history, and space.
  • Dissertations

    Dissertations

    UC Irvine UC Irvine Electronic Theses and Dissertations Title Spectral Science: Into the World of American Ghost Hunters Permalink https://escholarship.org/uc/item/3q71q8f7 Author Li, Janny Publication Date 2015 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Spectral Science: Into the World of American Ghost Hunters DISSERTATION Submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Anthropology by Janny Li Dissertation Committee: Chancellor’s Professor George Marcus, Chair Associate Professor Mei Zhan Associate Professor Keith Murphy 2015 ii © 2015 Janny Li ii DEDICATION To My grandmother, Van Bich Luu Lu, who is the inspiration for every big question that I ask. And to My sisters, Janet and Donna Li, with whom I never feel alone in this world. ii TABLE OF CONTENTS Page LIST OF FIGURES IV ACKNOWLEDGEMENTS V CURRICULUM VITAE VII INTRODUCTION 1 CHAPTER 1: A Case of Quasi-Certainty: William James and the 31 Making of the Subliminal Mind CHAPTER 2: Visions of Future Science: Inside a Ghost Hunter’s Tool Kit 64 CHAPTER 3: Residual Hauntings: Making Present an Intuited Past 108 CHAPTER 4: The Train Conductor: A Case Study of a Haunting 137 CONCLUSION 169 REFERENCES 174 iii LIST OF FIGURES Page Figure 1. Séance at Rancho Camulos 9 Figure 2. Public lecture at Fort Totten 13 Figure 3. Pendulums and dowsing rods 15 Figure 4. Ad for “Ghost Hunters” 22 Figure 5. Selma Mansion 64 Figure 6.
  • ARKHAM ASYLUM 1 Empathizing with Enemies

    ARKHAM ASYLUM 1 Empathizing with Enemies

    Running head: ARKHAM ASYLUM 1 Empathizing with Enemies: Establishing Good Practices for Patient-Provider Communication at Arkham Asylum © Randy Sabourin, Ottawa, Canada, 2016 Key Words: Mental health, popular culture, narrative inquiry, interviews, patient-provider communication ARKHAM ASYLUM 2 Abstract Arkham Asylum is the home of some of popular culture's most notorious super villains. The neglect and inadequate care these villains receive mirrors a real world context in which mental illness is surrounded by stigma, misunderstanding, and poor rehabilitation rates. Patients like the Joker present complex mental health narratives. These extreme characters would likely be high profile subjects for real-world researchers. This study explores the niches between the usual action-packed escapades on the surface of Batman stories. By pulling back the curtain over the routine treatment of Arkham Asylum’s patients (also known as inmates), the researcher presents a set of good practices for improving their care through more effective communication. A rich data set of recorded audio interviews from the video game Batman: Arkham Asylum serves as the foundation for this set of good practices tailored to the needs of the fictional facility. Narrative inquiry is used to pull these recommendations from the data. Current real world mental health policies and good practices for patient-provider communication, grounded in existing literature, provide the framework within which the researcher compares the fictional world. Based on the narrative elements found in the data, this study recommends an empathy- driven and preventative approach to treating Gotham’s criminally insane population. ARKHAM ASYLUM 3 Table of Contents 1. Introduction 4 a.
  • Surveillance, Social Order, and Gendered Subversions

    Surveillance, Social Order, and Gendered Subversions

    SURVEILLANCE, SOCIAL ORDER, AND GENDERED SUBVERSIONS IN BATMAN COMICS, 1986-2011 by © Aidan Diamond (Thesis) submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Master’s of Arts Department of English Memorial University of Newfoundland October 2017 St. John’s Newfoundland and Labrador !ii ABSTRACT Batman is “the world’s most popular superhero.”1 An icon of American excep- tionalism, Batman has been featured in radio programmes, television shows, musicals, and more films than any other superhero since his 1939 comic book inception. While Batman has also been the subject of more scholarship than any other superhero, sustained scholarly inquiry of his vigilante infrastructures and their effects upon those Batman deems criminal is scarce; instead, critical readers prefer to interrogate his fascist under- tones. This thesis aims to ameliorate this lack of scholarship by interrogating Batman’s regulatory surveillance assemblage, particularly how it is negotiated and subverted by Barbara Gordon/Oracle and Selina Kyle/Catwoman. Using Foucault’s theories of crimi- nality, Lyon’s articulation of surveillance, Haraway’s cyborg hybridizations, Mulvey’s deconstruction of the gaze, and Butler’s and Tasker’s respective conceptualizations of gender, I argue that female characters problematize and complicate the otherwise unques- tioned authority of Batman’s surveillance assemblage in the 1986-2011 DC continuity. 1 “Batman Day Returns!” DC Comics. 14 June 2016, www.dccomics.com/blog/2016/06/14/batman-day- returns. Accessed 16 July 2017. !iii Acknowledgements This project owes its existence to a great many people who supported and encour- aged me throughout the process, asked insightful and necessary questions, took the time to read early chapter drafts, let me take the time to pet dogs and read non-Bat-comics, and were just generally the best friends a thesis-writer could hope for.
  • Approaching Algorithmic Power Luke Munn

    Approaching Algorithmic Power Luke Munn

    Approaching Algorithmic Power Luke Munn A thesis submitted for the Degree of Doctor of Philosophy (PhD) at the Institute for Culture & Society, Western Sydney University February 2019 Contemporary power manifests in the algorithmic. Emerging quite recently as an object of study within media and communications, cultural research, gender and race studies, and urban geography, the algorithm often seems ungraspable. Framed as code, it becomes proprietary property, black-boxed and inaccessible. Framed as a totality, its becomes overwhelmingly complex, incomprehensible in its operations. Framed as a procedure, it becomes a technique to be optimised, bracketing out the political. In struggling to adequately grasp the algorithmic as an object of study, to unravel its mechanisms and materialities, these framings offer limited insight into how algorithmic power is initiated and maintained. This thesis instead argues for an alternative approach: firstly, that the algorithmic is coordinated by a coherent internal logic, a knowledge-structure that understands the world in particular ways; second, that the algorithmic is enacted through control, a material and therefore observable performance which purposively influences people and things towards a predetermined outcome; and third, that this complex totality of architectures and operations can be productively analysed as strategic sociotechnical clusters of machines. This method of inquiry is developed with and tested against four contemporary examples: Uber, Airbnb, Amazon Alexa, and Palantir Gotham. Highly profitable, widely adopted and globally operational, they exemplify the algorithmic shift from whiteboard to world. But if the world is productive, it is also precarious, consisting of frictional spaces and antagonistic subjects. Force cannot be assumed as unilinear, but is incessantly negotiated—operations of parsing data and processing tasks forming broader operations that strive to establish subjectivities and shape relations.
  • Ferocious Logics: Unmaking the Algorithm 2018

    Ferocious Logics: Unmaking the Algorithm 2018

    Repositorium für die Medienwissenschaft Luke Munn Ferocious Logics: Unmaking the Algorithm 2018 https://doi.org/10.25969/mediarep/3556 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Munn, Luke: Ferocious Logics: Unmaking the Algorithm. Lüneburg: meson press 2018. DOI: https://doi.org/10.25969/mediarep/3556. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.14619/1402 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0 Attribution - Share Alike 4.0 License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0 finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0 Luke Munn Ferocious Logics: Unmaking the Algorithm MUNN LOGICS LOGICS UNMAKING ALGORITHM FEROCIOUS FEROCIOUS Ferocious Logics Luke Munn uses both practice-based and theoretical approaches to explore the intersections between technology and capital, body and code. His projects have been exhibited throughout Europe, North America, and Oceania. He is a Studio Supervisor at Whitecliffe College of Art & Design and a current PhD Candidate at the Institute for Culture & Society, Western Sydney University. Ferocious Logics: Unmaking the Algorithm Luke Munn Bibliographical Information of the German National Library The German National Library lists this publication in the Deutsche Nationalbibliografie (German National Bib- liography); detailed bibliographic information is available online at http://dnb.d-nb.de. Published in 2018 by meson press, Lüneburg, Germany www.meson.press Design concept: Torsten Köchlin, Silke Krieg Cover image: © Michael Deistler Copy editing: Joely Day The print edition of this book is printed by Lightning Source, Milton Keynes, United Kingdom.
  • Batman/Superman/Wonder Woman: Trinity Written by Alex Mckinnon

    Batman/Superman/Wonder Woman: Trinity Written by Alex Mckinnon

    Batman/Superman/Wonder Woman: Trinity Written by Alex McKinnon Batman created by Bob Kane Superman created by Jerry Siegel and Joe Shuster Wonder Woman created by William Moulton Marston [email protected] INT. SMALLVILLE DINER A small glob of red ketchup on a white plate. A hand dips and slides a french fry through it in a sunny, relaxed restaurant. CLARK ... and that's how I got out. The hand belongs to CLARK KENT, approaching his twenties, the boy next door in a world without neighbors. He beams a happy, sheepish smile. Two teenagers (a BOY and a GIRL) sit across from him, speechless. GIRL You're not serious. Clark chuckles and gestures 'cross my heart'. GIRL THAT'S your big secret. The girl folds her arms and leans back in her chair, frowning. GIRL I don't believe you. CLARK Honest. The girl slaps the table, laughing incredulously. GIRL Come on! You skipped physics?! That's REALLY the best you got? CLARK I told you it wasn't worth knowing. GIRL But we gave you such good ones! You can't honestly tell me that's all. CLARK What exactly were you expecting? The girl just shrugs. Clark looks around the diner for a waiter. He suddenly looks flushed. He leans forward, elbow on the table, rubbing a hand across his face. GIRL Hey Boy Scout, what's wrong? 2. CLARK Nothing. Clark grabs a menu and hides behind it, coughing, fidgeting. He wipes his brow with the back of his hand. His eyes slowly adopt a tint of red, an odd WHISTLING accompanying the change.
  • Gogo Vision What's Playing

    Gogo Vision What's Playing

    GOGO VISION WHAT’S PLAYING CATALOG 123 MOVIES (86) TITLE Keanu NEW CONTENT Magic Mike XXL Central Intelligence Max Hunt for the Wilderpeople Maze Runner: The Scorch Trials Independence Day: Resurgence McFarland, USA Mike and Dave Need Wedding Dates Me Before You Now You See Me 2 Midnight Special Popstar: Never Stop, Never Stopping Minions Warcraft Mistress America A Bigger Splash Mothers and Daughters Aladdin My Big Fat Greek Wedding 2 Alvin and the Chipmunks: The Road Chip Neighbors 2: Sorority Rising Ant-Man Night at the Museum: Secret of the Tomb Barbershop: The Next Cut Pan Batkid Begins Paper Towns Batman V Superman: Dawn of Justice Pitch Perfect 2 Black Mass Point Break By the Sea Purple Rain Cinderella Race Creed Ratchet & Clank Deadpool Ride Along 2 Demolition Run All Night Descendants Sing Street Elf Sisters Entourage Spy Everest Star Wars: A New Hope Focus Star Wars: Return of the Jedi Get Hard Star Wars: The Empire Strikes Back Hail Caesar! Star Wars: The Force Awakens Hitman Agent 47 Steve Jobs Hot Pursuit Ted 2 How to Be Single Teen Beach 2 Jane Wants a Boyfriend The Boss Jem and the Holograms The Finest Hours Joy The Good Dinosaur Jurassic World The Huntsman: Winter’s War Movies | Available content may vary based on aircraft registration country. 2 GOGO VISION | WHAT’S PLAYING CATALOG 123 The Imitation Game The Intern The Jungle Book The Longest Ride The Man from U.N.C.L.E. The Martian The Nice Guys The Peanuts Movie The Revenant The Visit Tomorrowland Trainwreck Vacation (2015) Wild Youth Zootopia Movies | Available content may vary based on aircraft registration country.