Humanistic STEM: from Concept to Course
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Struction of the Feminine/Masculine Dichotomy in Westworld
WiN: The EAAS Women’s Network Journal Issue 2 (2020) Skin-Deep Gender: Posthumanity and the De(con)struction of the Feminine/Masculine Dichotomy in Westworld Amaya Fernández Menicucci ABSTRACT: This article addresses the ways in which gender configurations are used as representations of the process of self-construction of both human and non-human characters in Jonathan Nolan and Lisa Joy’s series Westworld, produced by HBO and first launched in 2016. In particular, I explore the extent to which the process of genderization is deconstructed when human and non-human identities merge into a posthuman reality that is both material and virtual. In Westworld, both cyborg and human characters understand gender as embodiment, enactment, repetition, and codified communication. Yet, both sets of characters eventually face a process of disembodiment when their bodies are digitalized, which challenges the very nature of identity in general and gender identity in particular. Placing this digitalization of human identity against Donna Haraway’s cyborg theory and Judith Butler’s citational approach to gender identification, a question emerges, which neither Posthumanity Studies nor Gender Studies can ignore: can gender identities survive a process of disembodiment? Such, indeed, is the scenario portrayed in Westworld: a world in which bodies do not matter and gender is only skin-deep. KEYWORDS: Westworld; gender; posthumanity; embodiment; cyborg The cyborg is a creature in a post-gender world. The cyborg is also the awful apocalyptic telos of the ‘West’s’ escalating dominations . (Haraway, A Cyborg Manifesto 8) Revolution in a Post-Gender, Post-Race, Post-Class, Post-Western, Posthuman World The diegetic reality of the HBO series Westworld (2016-2018) opens up the possibility of a posthuman existence via the synthesis of individual human identities and personalities into algorithms and a post-corporeal digital life. -
Beyond Westworld
“We Don’t Know Exactly How They Work”: Making Sense of Technophobia in 1973 Westworld, Futureworld, and Beyond Westworld Stefano Bigliardi Al Akhawayn University in Ifrane - Morocco Abstract This article scrutinizes Michael Crichton’s movie Westworld (1973), its sequel Futureworld (1976), and the spin-off series Beyond Westworld (1980), as well as the critical literature that deals with them. I examine whether Crichton’s movie, its sequel, and the 1980s series contain and convey a consistent technophobic message according to the definition of “technophobia” advanced in Daniel Dinello’s 2005 monograph. I advance a proposal to develop further the concept of technophobia in order to offer a more satisfactory and unified interpretation of the narratives at stake. I connect technophobia and what I call de-theologized, epistemic hubris: the conclusion is that fearing technology is philosophically meaningful if one realizes that the limitations of technology are the consequence of its creation and usage on behalf of epistemically limited humanity (or artificial minds). Keywords: Westworld, Futureworld, Beyond Westworld, Michael Crichton, androids, technology, technophobia, Daniel Dinello, hubris. 1. Introduction The 2016 and 2018 HBO series Westworld by Jonathan Nolan and Lisa Joy has spawned renewed interest in the 1973 movie with the same title by Michael Crichton (1942-2008), its 1976 sequel Futureworld by Richard T. Heffron (1930-2007), and the short-lived 1980 MGM TV series Beyond Westworld. The movies and the series deal with androids used for recreational purposes and raise questions about technology and its risks. I aim at an as-yet unattempted comparative analysis taking the narratives at stake as technophobic tales: each one conveys a feeling of threat and fear related to technological beings and environments. -
Subverting Or Reasserting? Westworld (2016-) As an Ambiguous Critical Allegory of Gender Struggles
#24 SUBVERTING OR REASSERTING? WESTWORLD (2016-) AS AN AMBIGUOUS CRITICAL ALLEGORY OF GENDER STRUGGLES Miguel Sebastián-Martín Universidad de Salamanca Ilustración || Isela Leduc Artículo || Recibido: 19/07/2020 | Apto Comité Científico: 04/11/2020 | Publicado: 01/2021 DOI: 10.1344/452f.2021.24.9 [email protected] Licencia || Reconocimiento-No comercial-Sin obras derivadas 3.0 License 129 Resumen || Este artículo analiza las tres primeras temporadas de la serie de HBO Westworld (2016-2020), considerándolas una alegoría crítica de las relaciones de género. Se presta especial atención a la construcción autorreflexiva de sus mundos de ciencia ficción y a dos de los arcos narrativos de los personajes principales, las androides femeninas (o ginoides) Dolores y Maeve. Más específicamente, el ensayo consiste en un examen dialéctico de las ambigüedades narrativas de la serie, por lo que su argumento es doble. Por un lado, se argumenta que Westworld está clara y conscientemente construida como una alegoría crítica y que, como tal, sus mundos de ciencia ficción escenifican luchas sociales reales (principalmente, aquellas entre géneros) para narrar posteriormente su (intento) de derrocamiento. Por otro lado, en contra de esta interpretación crítico-alegórica, pero completándola, también se argumenta que Westworld no es una narrativa inequívocamente crítica y que, si vamos a examinar sus potenciales alegóricos, debemos considerar también cómo su realización puede ser obstaculizada y/o contradicha por ciertas ambigüedades narrativas. Palabras clave || Westworld | Ciencia ficción | Metaficción | Alegoría crítica | Género Abstract || This article analyses the first three seasons of HBO’s Westworld (2016-2020) by considering them a critical allegory of gender relations. In so doing, the text pays special attention to the self-reflexive construction of its SF worlds, and to two of the main characters’ arcs, the female androids (or gynoids) Dolores and Maeve. -
Westworld (2016-): a Transhuman Nightmare Or the Advancement of Posthumanism?
Cyborgs vs Humans in Westworld (2016-): A Transhuman Nightmare or the Advancement of Posthumanism? Izarbe Martín Gracia S2572737 Supervisor: Dr. E. J. van Leeuwen Second Reader: Prof. dr. P. T. M. G. Liebregts Master Thesis English Literature and Culture Leiden University March 2021 1 Table of Contents Introduction ...................................................................................................................... 3 Chapter One. Theoretical Framework: ............................................................................. 8 Transhumanism: The Enhancement of Human Intellect and Physiology ............... 9 Posthumanism: The Deconstruction of the Human .............................................. 14 Donna Haraway: The Cyborg and The Post-dualistic Society.............................. 18 The Western .......................................................................................................... 20 Chapter Two. Sleep Mode .............................................................................................. 23 Section A. The Minds Behind the Project ............................................................. 24 Section B. Programming the Human Software ..................................................... 32 Chapter Three. Awakening ............................................................................................. 41 Section A. Insurrection at the Lab: Maeve and her Administrator Privileges ...... 43 Section B. The Search for Answers: Dolores....................................................... -
The Emancipatory Politics of Westworld (2016-)
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE QUESTIONING THE NATURE OF REALITY: THE EMANCIPATORY POLITICS OF WESTWORLD (2016-) A THESIS SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the Degree of MASTER OF ARTS By MORGAN JONES Norman, Oklahoma 2021 QUESTIONING THE NATURE OF REALITY: THE EMANCIPATORY POLITICS OF WESTWORLD (2016-) A THESIS APPROVED FOR THE DEPARTMENT OF GEOGRAPHY AND ENVIRONMENTAL SUSTAINABILITY BY THE COMMITTEE CONSISTING OF Dr. Laurel Smith, Chair Dr. Alison Fields Dr. Darren Purcell © Copyright by MORGAN JONES 2021 All Rights Reserved iv Acknowledgements I’d like to extend thanks to my thesis advisor, Dr. Laurel Smith, for letting me take this short final paper from Gender & Environment and turn it into a fully-fledged Master’s thesis. She has always taken this project seriously, even when I doubted its value (as I often did). Her extensive notes have been invaluable in crafting this document into what it is today. I would also like to thank Dr. Darren Purcell and Dr. Alison Fields who both serve on my advisory committee. The classes I have taken with them helped my conceptualization of what this thesis could be. I hope that their influence is visible in this paper. Another extension of gratitude goes to Dr. Harriet Hawkins for introducing me to geographical aesthetics, and for getting coffee with me in London when her work was the grounding force in my undergraduate capstone. I think it is absolutely necessary to thank my roommate, Holden Dempsey, and my dog, Olive, for being a stellar support system when I was at my most fragile. -
Considerations on the Theme Park Model As Short-Term Utopia
CONSIDERATIONS ON THE THEME PARK MODEL AS SHORT-TERM UTOPIA. PERE GALLARDO Universidad de Lleida The hermit tums his back on the world and will have no truck with it. But one can do more than that; one can try to re-create the world, to build up in its stead another world in which its most unbearable features are eliminated and replaced by others that are in conformity with one's own wishes. Sigmund Freud. Civilization and its Disconíenís, 1930. (Resumen) Este artículo analiza la relación entre el concepto de la utopía y los parques temáticos que pueden ser considerados como utopías a "corto plazo." El estudio de parques temáticos reales, novelísticos o ñlmicos y su dependencia económica, geográfica y emocional del mundo real a la vez que pretenden un aislamiento e independencia utópica de ese mundo, revelan importantes contradicciones paradójicas de nuestra sociedad postmodema. El cambio de "roles" llega a cuestionar cuál de las dos realidades es la hiper realidad o virtud y la auténtica realidad, cuando se observa que esta última empieza a fagocitar la realidad del parque temático. I.INTRODUCTIOI^ It seems undeniable that of all the definitions ever provided of the concept of utopia, the etymological one is likely to be the most widely accepted. The well-known "good place which is nowhere" has reached the status of abiding truth and is often recalled before any discussion on the nature of specific utopias or dystopias takes place. Notwithstanding this, it is my intention in this essay to introduce a new variable. At the basis of my comments are theme parks understood as short-term utopias, as they are meant to provide a condition of happiness different and superior to that of the world outside, a condition which automatically disappears upon reentering the actual world. -
THE CANVAS and the MAZE Deconstructing the Wall and the Frontier in Contemporary American Science Fiction
Review of International American Studies PRIZE ELLIOTT EMORY RIAS Vol. 11, Fall–Winter № 2/2018 ISSN 1991–2773 THE CANVAS AND THE MAZE Deconstructing the Wall and the Frontier in Contemporary American Science Fiction n his 1974 article “Who Is an SF Writer?,”Philip K. Dick describes Chiara Grilli Independent scholar Ithe author of science fiction (SF) as “a dreamer with one eye Italy open, always coldly appraising what is actually going on” (75). In this sense, despite the escapist tendency about which many critics complain, this genre is rooted in the empirical experience of our natural, historical, and social environment. Starting from reality, SF ventures into the almost infinite possibilities of the ‘what if,’ to the extent that, in periods of crisis and new social anxieties, it gains new strength, informing literature and art. The plethora of SF movies in recent years can be easily explained as an attempt to define, analyze, and rein- terpret the most significant issues of our times. In particular, the recent sociocultural upheaval caused by the migration crisis—along with the restored interest in the semantic fields of ‘wall’ and ‘frontier’—has redefined the role of the Other in Western society and deeply influenced recent SF productions. Jonathan Nolan’s and Lisa Joy’s TV series Westworld and Denis Villeneuve’s movie Arrival, two of the most acclaimed works of 2016, stand out for the highly symbolic representation of the relationship between the individual and the Other, a rela- tionship addressed through a complete re-elaboration of two of the most controversial elements of today’s international politics: the frontier and the wall.1 By considering the different 1. -
How the Three Little Pigs Came to Star in Independence Day
HOW THE THREE LITTLE PIGS CAME TO STAR IN INDEPENDENCE DAY The Relationship Between the European Fairy Tale and the American Disaster Movie by Roz Williams Ph.D. Thesis December 2015 How The Three Little Pigs Came to Star in Independence Day/Ph.D.Thesis !"#$%!&$! HOW THE THREE LITTLE PIGS CAME TO STAR IN INDEPENDENCE DAY by Roz Williams This thesis sets out to determine the relationship between European fairy tales and the American disaster movie genre. It examines how these fairy tales may have impacted on a fledgling film industry through its European creators. It does this by drawing on examples of mythology, folklore and fairy tale, anthropology, archaeology, psychology, political and social history, geopolitics and sociology. It also investigates film genre, story structure and the history of Hollywood and its creators; and is told in a personal narrative style with supporting anecdotal contributions to illustrate the effect of the disaster movie on the individual. The thesis exposes how the motifs of myth and fairy tale are prevalent in this genre of film, using case studies and analysing them against social anthropological paradigms to argue that European fairy tales have influenced American disaster movies. It demonstrates how geopolitical and sociological events have shaped the stories told in these films throughout the decades since the genre's inception at the birth of film, and the author posits that disaster movies will continue to be relevant not only to audiences and storytellers, but also to disaster relief agencies. In conclusion, the thesis argues that disaster movies are the fairy tales of our modern times and that they serve a purpose in telling the stories that explore our concerns and allay our fears. -
A Feminist Reading of Ex Machina and Westworld Zoe E
Bates College SCARAB Honors Theses Capstone Projects 5-2017 Constructing Womanhood and the Female Cyborg: A Feminist Reading of Ex Machina and Westworld Zoe E. Seaman-Grant Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Seaman-Grant, Zoe E., "Constructing Womanhood and the Female Cyborg: A Feminist Reading of Ex Machina and Westworld" (2017). Honors Theses. 202. http://scarab.bates.edu/honorstheses/202 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. Constructing Womanhood and the Female Cyborg: A Feminist Reading of Ex Machina and Westworld An Honors Thesis Presented to the Faculty of the Department of Women and Gender Studies Bates College In partial fulfillment for the Degree of Bachelor of Arts Zoë Seaman-Grant Lewiston, ME March 24, 2017 ii Acknowledgements I would like to thank my advisor, Eden Osucha, for her advice, support, and patience throughout this year. I am especially thankful for her constantly pushing me to explore new perspectives and offering her own, incredibly insightful, thoughts on this project. I would have never decided to write a chapter on Westworld without her. Many thanks to Rebecca Herzig for her insights on how to organize a project of this size and her academic and emotional support throughout this process. Thank you to Erica Rand for pushing me to narrow down my topic, sending me interesting and useful articles, and for serving on my panel. -
City of Scottsdale Westworld Liability Release and Waiver Agreement
CITY OF SCOTTSDALE WESTWORLD LIABILITY RELEASE AND WAIVER AGREEMENT I hereby acknowledge that the WestWorld Recreational Facility is a multi-use facility that hosts events which may include, among other things, motor vehicles, horses, dogs, or other events that are accompanied by an inherent risk of injury. I also acknowledge that multiple events may be occurring at WestWorld simultaneously and both indoor and outdoor recreational facilities may be susceptible to risks or dangers resulting from weather, usage, or other conditions beyond the control of the City of Scottsdale. IN CONSIDERATION thereof and in consideration of my and my horse’s admittance into the WestWorld Recreational Facility, and to the fullest extent permitted by law, acting on behalf of myself, my heirs, successors, and assigns, I do hereby waive any and all claims against and release and forever discharge the City of Scottsdale and the United States Bureau of Reclamation, and any of its elected or appointed officials, officers, commissioners, employees, agents, and representatives from any and all demands, claims, proceedings, suits, damages, losses, causes of action and expenses related to, arising out of, or resulting from, my visit, use or occupancy of WestWorld and its various recreational facilities and services and my horse’s presence at WestWorld. This release of liability extends to any and all circumstances, whether or not caused in part by the City of Scottsdale or the United States Bureau of Reclamation, their elected or appointed officials, officers, commissioners, employees, agents, and representatives. I further agree that to the fullest extent permitted by law, I will indemnify, defend, and hold harmless the City of Scottsdale and the United States Bureau of Reclamation, and any of its elected or appointed officials, officers, commissioners, employees, agents, and representatives. -
Westworld: the Maze
Skill Launch: June 2018 Case Study: April 2020 (updated) HBO Westworld: The Maze In partnership with 360i Case Study – HBO Challenge Leading into the Season 2 finale of Westworld, HBO wanted to build excitement and sustain fan engagement to drive continued affinity for the show. Opportunity Fans appreciated the rich layers of world-building on screen. Voice had the potential to take them deeper than ever before. HBO therefore partnered with 360i to create an immersive version of the show’s reality that would allow fans to actively engage with the Westworld universe. Case Study – HBO Solution HBO turned to a medium that combines the oldest form of storytelling with the newest technology: voice. Westworld: The Maze is a voice game on Alexa-enabled devices that allows fans to navigate the show’s world right from their couches. The skill is truly immersive – breaking boundaries as Westworld fans would expect. Image As an exciting feat, HBO brought its unique brand of storytelling FPO and dedication to craft to a platform that relies entirely on audio – and its fans’ imaginations. The final product presents fans with over two hours of unique gameplay spanning 11,000 lines of script, each with custom-built sound design. The experience was created in conjunction with the show’s producers and sound design team, 360i and conversation design studio, Xandra. Throughout the skill’s 400 potential choices, fans encounter and interact with the voice talents of 36 different actors, cast specifically for their roles in the skill, including show talent Jeffrey Wright and Angela Sarafyan. Case Study – HBO Go-To-Market Approach To tease the upcoming skill, Westworld released a mysterious asset on social that hinted at something big coming the following day. -
Not Since Jurassic Park Has Digging up the Past Been So Dangerous
NOT SINCE JURASSIC PARK HAS DIGGING UP THE PAST BEEN SO DANGEROUS. The legendary number one New York Times bestselling author returns to the world of paleontology in this recently discovered novel—a thrilling adventure set in the Wild West during the golden age of fossil hunting. he year is 1876. Warring Indian tribes still populate America’s western territories, even as lawless gold-rush towns begin to mark the landscape. While the civilized East de- T bates Mr. Darwin’s heretical new theory called evolution, two monomaniacal paleon- tologists pillage the Wild West, hunting for dinosaur fossils while surveilling, deceiving, and sabotaging each other in a rivalry that will come to be known as the Bone Wars. Into this treacherous territory plunges the arrogant and entitled William Johnson, a Yale student with more privilege than sense. Determined to survive a summer in the West to win a bet against his archrival, William has joined world-renowned paleontologist Othniel Charles Marsh on his latest expedition. But when the paranoid and secretive Marsh becomes convinced that William is spying for his nemesis, Edward Drinker Cope, he abandons him in Cheyenne, Wyoming, a locus of crime and vice. His honor at stake, William joins forces with Cope and soon stumbles upon a discov- ery of historic proportions. With this extraordinary treasure, however, comes exceptional danger, and William’s newfound resilience will be tested in his struggle to protect his cache from some of the West’s most notorious and wily characters. MICHAEL CRICHTON (1942–2008) was the author of the groundbreaking novels The Andromeda Strain, The Great Train Robbery, Jurassic Park, Disclosure, Prey, State of Fear, and Next, among many others.