Living with man-made disaster and accident

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.Includes bibliographical references (leaves 71-73)."There is no progress with out progress of the catastrophe." Virilio. This thesis project proposes that technological solutions in the design of our systems are not enough to prevent 'man-made' accident. Social, organisational and political means are needed to understand the causes of disaster in the twenty-first century. This project conducts an autopsy on an historic technological disaster case examining the build up to the accident. The object of the experiment (artwork) is to examine the inevitability of accidents, highlight to the viewer that risk is intrinsic to our world, and that technological disaster will be an integral part in our lives in the 21st century.by Saoirse Higgins.S.M

Spartan Daily, April 26, 1995

Volume 104, Issue 56https://scholarworks.sjsu.edu/spartandaily/8700/thumbnail.jp

Player agency in interactive narrative: audience, actor & author

The question motivating this review paper is, how can computer-based interactive narrative be used as a constructivist learn- ing activity? The paper proposes that player agency can be used to link interactive narrative to learner agency in constructivist theory, and to classify approaches to interactive narrative. The traditional question driving research in interactive narrative is, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ This question derives from an Aristotelian approach to interactive narrative that, as the question shows, is inherently antagonistic to player agency. Within this approach, player agency must be restricted and manip- ulated to maintain the narrative. Two alternative approaches based on Brecht’s Epic Theatre and Boal’s Theatre of the Oppressed are reviewed. If a Boalian approach to interactive narrative is taken the conflict between narrative and player agency dissolves. The question that emerges from this approach is quite different from the traditional question above, and presents a more useful approach to applying in- teractive narrative as a constructivist learning activity

Zombies, Vaults & Violence: Collective Memory and the Representation of Atomic Fears in Video Games

This dissertation examines the representation of atomic/nuclear weapons and fears within video games through the lens of collective/cultural memory, historiography, game studies and critical theory. These diverse fields are combined into a research typology labelled as discourses of the past which argues that the past is mediated based upon the needs of entrenched power for use in, and the organization of, the present. The study focuses specifically on the representation of the atomic bombings of Hiroshima and Nagasaki in August 1945 in both their American and Japanese contexts. The dissertation first engages with key works in the relevant fields. This literature review grounds the work in established theory while also defining and outlining the discourses of the past research typology. The second major section engages in a discussion of the author’s positionality and describes the methodological considerations of the typology. Through a historiographical analysis, the dissertation argues that the dominant discourses of the past of the atomic bombings in the United States/West is to justify the use of the bombs while erasing Japanese victims. This is further examined in three case studies of American games: Fallout 4, Far Cry 5, and Far Cry New Dawn. A historiographical analysis of Japanese sources finds that there is no one dominant collective/cultural memory and, instead, atomic bomb and war memory is diffused into three discourses of the past (a hero/victim/perpetrator memory triad) where no one discourse is entirely dominant or marginalized. Instead, the relative power of each is dictated by person, place, space, and/or temporality. This is further explored in a case study of three Japanese games: Resident Evil 3, Yakuza 6: The Song of Life, and Valkyria Chronicles 4. Through the combination of theory, historiography, and case studies the dissertation ultimately argues that the selected games mimic the dominant discourses of the past while also adhering to established video game genre conventions and expectations. These findings are then put into contemporary context to argue for the continued relevance of Hiroshima and Nagasaki

Life Safety as a Design Driver: Designing an Embassy for the 21st Century.

D.Arch. Thesis. University of Hawaiʻi at Mānoa 2018

Advantages and challenges of unmanned aerial vehicle autonomy in the Postheroic age

Over the past decade, unmanned aerial vehicles (UAVs) have revolutionized how the U.S. engages elusive militants in low-intensity conflicts by allowing the U.S. to project continuous military power without risking combat casualties. While UAV usage promises additional tactical advantages in future conflicts, little agreement exists regarding a strategic vision for UAV research and development, necessary for the U.S. to allocate limited resources among UAV development programs that address national security objectives. The present research makes the case for a future UAV technology evolutionary path leading to fully autonomous intelligence, surveillance, and reconnaissance (ISR)/strike UAV systems for the United States Air Force that are capable of sensing their environments through multiple modalities, recognizing patterns, and executing appropriate actions in response to their real-time analyses. The thesis addresses enabling technology inroads stemming from major improvements in our understanding of human neural circuitry that promise to enable innovations in the artificial intelligence needed to achieve autonomous system function. Arguments are based on projected military and economic benefits of autonomous systems and extend the historical model established by the CIA\u27s successful UAV program to unconventional warfare (UW) conflicts that the U.S. Air Force finds itself ill-equipped to handle. Counter-arguments are addressed relating to uncontrolled lethal technology, conflict initiation thresholds, and the vulnerability of overreliance on high-technology systems. In making the case for fully automated UAV technology, research provides a strategic future vision for autonomous UAV usage by highlighting the important interaction of artificial intelligence, “smart” wide-area sensors, and cooperative micro UAVs

Respawn

In Respawn Colin Milburn examines the connections between video games, hacking, and science fiction that galvanize technological activism and technological communities. Discussing a wide range of games, from Portal and Final Fantasy VII to Super Mario Sunshine and Shadow of the Colossus, Milburn illustrates how they impact the lives of gamers and non-gamers alike. They also serve as resources for critique, resistance, and insurgency, offering a space for players and hacktivist groups such as Anonymous to challenge obstinate systems and experiment with alternative futures. Providing an essential walkthrough guide to our digital culture and its high-tech controversies, Milburn shows how games and playable media spawn new modes of engagement in a computerized world

Second-Person Surveillance: Politics of User Implication in Digital Documentaries

This dissertation analyzes digital documentaries that utilize second-person address and roleplay to make users feel implicated in contemporary refugee crises, mass incarceration in the U.S., and state and corporate surveillances. Digital documentaries are seemingly more interactive and participatory than linear film and video documentary as they are comprised of a variety of auditory, visual, and written media, utilize networked technologies, and turn the documentary audience into a documentary user. I draw on scholarship from documentary, game, new media, and surveillance studies to analyze how second-person address in digital documentaries is configured through user positioning and direct address within the works themselves, in how organizations and creators frame their productions, and in how users and players respond in reviews, discussion forums, and Let’s Plays. I build on Michael Rothberg’s theorization of the implicated subject to explore how these digital documentaries bring the user into complicated relationality with national and international crises. Visually and experientially implying that users bear responsibility to the subjects and subject matter, these works can, on the one hand, replicate modes of liberal empathy for suffering, distant “others” and, on the other, simulate one’s own surveillant modes of observation or behavior to mirror it back to users and open up one’s offline thoughts and actions as a site of critique. This dissertation charts how second-person address shapes and limits the political potentialities of documentary projects and connects them to a lineage of direct address from educational and propaganda films, museum exhibits, and serious games. By centralizing the user’s individual experience, the interventions that second-person digital documentaries can make into social discourse change from public, institution-based education to more privatized forms of sentimental education geared toward personal edification and self-realization. Unless tied to larger initiatives or movements, I argue that digital documentaries reaffirm a neoliberal politics of individual self-regulation and governance instead of public education or collective, social intervention. Chapter one focuses on 360-degree virtual reality (VR) documentaries that utilize the feeling of presence to position users as if among refugees and as witnesses to refugee experiences in camps outside of Europe and various dwellings in European cities. My analysis of Clouds Over Sidra (Gabo Arora and Chris Milk 2015) and The Displaced (Imraan Ismail and Ben C. Solomon 2015) shows how these VR documentaries utilize observational realism to make believable and immersive their representations of already empathetic refugees. The empathetic refugee is often young, vulnerable, depoliticized and dehistoricized and is a well-known trope in other forms of humanitarian media that continues into VR documentaries. Forced to Flee (Zahra Rasool 2017), I am Rohingya (Zahra Rasool 2017), So Leben Flüchtlinge in Berlin (Berliner Morgenpost 2017), and Limbo: A Virtual Experience of Waiting for Asylum (Shehani Fernando 2017) disrupt easy immersions into realistic-looking VR experiences of stereotyped representations and user identifications and, instead, can reflect back the user’s political inaction and surveillant modes of looking. Chapter two analyzes web- and social media messenger-based documentaries that position users as outsiders to U.S. mass incarceration. Users are noir-style co-investigators into the crime of the prison-industrial complex in Fremont County, Colorado in Prison Valley: The Prison Industry (David Dufresne and Philippe Brault 2009) and co-riders on a bus transporting prison inmates’ loved ones for visitations to correctional facilities in Upstate New York in A Temporary Contact (Nirit Peled and Sara Kolster 2017). Both projects construct an experience of carceral constraint for users to reinscribe seeming “outside” places, people, and experiences as within the continuation of the racialized and classed politics of state control through mass incarceration. These projects utilize interfaces that create a tension between replicating an exploitative hierarchy between non-incarcerated users and those subject to mass incarceration while also de-immersing users in these experiences to mirror back the user’s supposed distance from this mode of state regulation. Chapter three investigates a type of digital game I term dataveillance simulation games, which position users as surveillance agents in ambiguously dystopian nation-states and force users to use their own critical thinking and judgment to construct the criminality of state-sanctioned surveillance targets. Project Perfect Citizen (Bad Cop Studios 2016), Orwell: Keeping an Eye on You (Osmotic Studios 2016), and Papers, Please (Lucas Pope 2013) all create a dual empathy: players empathize with bureaucratic surveillance agents while empathizing with surveillance targets whose emails, text messages, documents, and social media profiles reveal them to be “normal” people. I argue that while these games show criminality to be a construct, they also utilize a racialized fear of the loss of one’s individual privacy to make players feel like they too could be surveillance targets. Chapter four examines personalized digital documentaries that turn users and their data into the subject matter. Do Not Track (Brett Gaylor 2015), A Week with Wanda (Joe Derry Hall 2019), Stealing Ur Feelings (Noah Levenson 2019), Alfred Premium (Joël Ronez, Pierre Corbinais, and Émilie F. Grenier 2019), How They Watch You (Nick Briz 2021), and Fairly Intelligent™ (A.M. Darke 2021) track, monitor, and confront users with their own online behavior to reflect back a corporate surveillance that collects, analyzes, and exploits user data for profit. These digital documentaries utilize emotional fear- and humor-based appeals to persuade users that these technologies are controlling them, shaping their desires and needs, and dehumanizing them through algorithmic surveillance