Multispecies Storytelling in Intermedial Practices

Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise? Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not. Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse. Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too

Multispecies Storytelling in Intermedial Practices

Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise? Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not. Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse. Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too

Trust in Robots

Robots are increasingly becoming prevalent in our daily lives within our living or working spaces. We hope that robots will take up tedious, mundane or dirty chores and make our lives more comfortable, easy and enjoyable by providing companionship and care. However, robots may pose a threat to human privacy, safety and autonomy; therefore, it is necessary to have constant control over the developing technology to ensure the benevolent intentions and safety of autonomous systems. Building trust in (autonomous) robotic systems is thus necessary. The title of this book highlights this challenge: “Trust in robots—Trusting robots”. Herein, various notions and research areas associated with robots are unified. The theme “Trust in robots” addresses the development of technology that is trustworthy for users; “Trusting robots” focuses on building a trusting relationship with robots, furthering previous research. These themes and topics are at the core of the PhD program “Trust Robots” at TU Wien, Austria

Multispecies Storytelling in Intermedial Practices

Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise? Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not. Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse. Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too

The Essential Science Fiction Television Reader

Once confined solely to literature and film, science fiction has emerged to become a firmly established, and wildly popular, television genre over the last half century. The Essential Science Fiction Television Reader provides insight into and analyses of the most important programs in the history of the genre and explores the breadth of science fiction programming. Editor J. P. Telotte and the contributors explain the gradual transformation of the genre from low-budget cinematic knockoffs to an independent and distinct televisual identity. Their essays track the dramatic evolution of early hits such as The Twilight Zone and Star Trek into the science fiction programming of today with its more recent successes such as Lost and Heroes. They highlight the history, narrative approaches, and themes of the genre with an inviting and accessible style. In essays that are as varied as the shows themselves, the contributors address the full scope of the genre. In his essay “The Politics of Star Trek: The Original Series,” M. Keith Booker examines the ways in which Star Trek promoted cultural diversity and commented on the pioneering attitude of the American West. Susan George takes on the refurbished Battlestar Galactica series, examining how the show reframes questions of gender. Other essays explore the very attributes that constitute science fiction television: David Lavery’s essay “The Island’s Greatest Mystery: Is Lost Science Fiction?”calls into question the defining characteristics of the genre. From anime to action, every form of science fiction television is given thoughtful analysis enriched with historical perspective. Placing the genre in a broad context, The Essential Science Fiction Television Reader outlines where the genre has been, where it is today, and where it may travel in the future. No longer relegated to the periphery of television, science fiction now commands a viewership vast enough to sustain a cable channel devoted to the genre. J. P. Telotte, professor of literature, communication, and culture at the Georgia Institute of Technology, is the author or editor of numerous books. “This well-edited collection offers a richly detailed and critically penetrating overview of science fiction television, from the plucky adventures of Captain Video to the postmodern paradoxes of The X-Files and Lost. Sixteen essays by major scholars in the field address topics ranging from the politics of Star Trek to the mythic resonances of The Twilight Zone, from the complexities of adapting material from other media to the science-fictionality of television itself. Teachers, students, and fans of SFTV will learn much from this engaging, indispensible volume.”--Rob Latham, coeditor of Science Fiction Studies “Telotte’s volume makes clear how much science fiction is on television (and how much television has been the subject of science fiction). The contributors to this volume demonstrate how much this matters. These are well-written, accessible, and informative essays that cover the subject in depth, from Captain Video to Star Trek; from The X-Files to Firefly.”—Robert Kolker, University of Virginia “Recommended for academic libraries with an interest in communication, media, and culture.” --Rosalind Dayen, Library Journal J. P. Telotte, a leading authority in the field of media studies, has compiled an impressive and qualified list of contributors to provide a synthesis of insight and analysis of the most important programs in the history of the genre’s progress. --Paintsville Herald The huge increase in the number of complex, culturally significant series in the last twenty years makes the genre a vital one for close study. --Joe Milicia, The New York Review of Science Fiction Renowned scholar J. P. Telotte explores how animation has confronted the blank template, and how responses to that confrontation have changed. --thebookstallblog.blogspot.com Provides a provocative glimpse into cultural perspectives of space as a method for understanding both a technological and aesthetic history of animation and the evolution from a modern to postmodern mind-set. --Humanitieshttps://uknowledge.uky.edu/upk_american_popular_culture/1007/thumbnail.jp

Annual Report of the University, 2001-2002, Volumes 1-4

VITAL ACADEMIC CLIMATE* by Brian Foster, Provost/Vice President of Academic Affairs A great university engages students and faculty fully in important ideas and issues ... not just to learn about them, but to take them apart and put them back together, to debate, deconstruct, resist, reconstruct and build upon them. Engagement of this sort takes concentration and commitment, and it produces the kind of discipline and passion that leads to student and faculty success and satisfaction in their studies, research, performance, artistic activity and service. It is also the kind of activity that creates a solid, nurturing spirit of community. This is what we mean when we talk about a vital academic climate. We are striving for an environment that will enrich the social, cultural and intellectual lives of all who come in contact with the University. Many things interconnect to make this happen: curriculum, co-curricular activities, conferences, symposia, cultural events, community service, research and social activity. Our goal is to create the highest possible level of academic commitment and excitement at UNM. This is what characterizes a truly great university. *Strategic Direction 2 New Mexico native Andres C. Salazar, a Ph.D. in electrical engineering from Michigan State University, has been named the PNM Chair in Microsystems, Commercialization and Technology. Carrying the title of professor, the PNM Chair is a joint appointment between the School of Engineering and the Anderson Schools of Management. Spring 2002 graduate John Probasco was selected a 2002 Rhodes Scholar, the second UNM student to be so honored in the past four years. The biochemistry major from Alamogordo previously had been awarded the Goldwater Scholarship and the Truman Scholarship. Andres c. Salazar Biology student Sophie Peterson of Albuquerque was one of 30 students nationwide to receive a 2002-2003 Award of Excellence from Phi Kappa Phi, the oldest and largest national honor society. Regents\\u27 Professor of Communication and Journalism Everett M. Rogers was selected the University\\u27s 4 71h Annual Research Lecturer, the highest honor UNM bestows upon members of its faculty. John Probasco honored by Student Activities Director Debbie Morris. New Mexico resident, author and poet Simon}. Ortiz received an Honorary Doctorate of Letters at Spring Commencement ceremonies. Child advocate Angela Angie Vachio, founder and executive director of Peanut Butter and Jelly Family Services, Inc., was awarded an Honorary Doctorate of Humane Letters. American Studies Assistant Professor Amanda}. Cobb won the 22 d annual American Book Award for listening to Our Grandmothers\\u27 Stories: The Bloomfield Academy for Chickasaw Females, 1852-1949

Weblogs 1994 – 2000: A genealogy

Using extensive fieldwork in the online archival record, this thesis accounts for the descent and emergence of the weblog as a digital genre during its formative period up to the year 2000. The work examines the weblog’s process of genre formation as diffusion of innovation within a heterogeneous discourse network. It describes this process as a series of several consecutive and cumulative reinterpretations of the emerging genre’s form and intended purpose, effected for the most part by the most central actors in the network