Brain-computer interfaces in safety and security fields: Risks and applications

With the recent increasing interest of researchers for Brain-Computer Interface (BCI), emerges a challenge for safety and security fields. Thus, the general objective of this research is to explore, from an engineering perspective, the trends and main research needs on the risks and applications of BCIs in safety and security fields. In addition, the specific objective is to explore the BCIs as an emerging risk. The method used consists of the sequential application of two phases. The first phase is carried out a scoping literature review. And with the second phase, the BCIs are analyzed as an emerging risk. With the first phase, thematic categories are analyzed. The categories are fatigue detection, safety control, and risk identification within the safety field. And within the security field are the categories cyberattacks and authentication. As a result, a trend is identified that considers the BCI as a source of risk and as a technology for risk prevention. Also, another trend based on the definitions and concepts of safety and security applied to BCIs is identified. Thus, “BCI safety” and “BCI security” are defined. The second phase proposes a general emerging risk framing of the BCI technology based on the qualitative results of type, level, and management strategies for emerging risk. These results define a framework for studying the safety and security of BCIs. In addition, there are two challenges. Firstly, to design techniques to assess the BCI risks. Secondly, probably more critical, to define the tolerability criteria of individual and social risk

Cyber-Human Systems, Space Technologies, and Threats

CYBER-HUMAN SYSTEMS, SPACE TECHNOLOGIES, AND THREATS is our eighth textbook in a series covering the world of UASs / CUAS/ UUVs / SPACE. Other textbooks in our series are Space Systems Emerging Technologies and Operations; Drone Delivery of CBNRECy – DEW Weapons: Emerging Threats of Mini-Weapons of Mass Destruction and Disruption (WMDD); Disruptive Technologies with applications in Airline, Marine, Defense Industries; Unmanned Vehicle Systems & Operations On Air, Sea, Land; Counter Unmanned Aircraft Systems Technologies and Operations; Unmanned Aircraft Systems in the Cyber Domain: Protecting USA’s Advanced Air Assets, 2nd edition; and Unmanned Aircraft Systems (UAS) in the Cyber Domain Protecting USA’s Advanced Air Assets, 1st edition. Our previous seven titles have received considerable global recognition in the field. (Nichols & Carter, 2022) (Nichols, et al., 2021) (Nichols R. K., et al., 2020) (Nichols R. , et al., 2020) (Nichols R. , et al., 2019) (Nichols R. K., 2018) (Nichols R. K., et al., 2022)https://newprairiepress.org/ebooks/1052/thumbnail.jp

Video Games for Earthly Survival: Gaming in the Post-Anthropocene

In this paper I evaluate the sixth mass extinction on planet Earth, and its implications for the medium of the video game. The Anthropocene, a term popularized by the end of the 20th century to refer to the geological impact of human beings on planet Earth, assumes temporal development, a ‘before’ and ‘after’ the appearance of humankind. The ‘after’ period, the Post-Anthropocene, is repeatedly claimed by scientists to be approaching within the next few decades, as over-consumption is destroying vital resources of the planet. Allegedly, the sixth mass extinction in the history of our planet is already unfolding, and might determine the disappearance of life from Earth and, as far as we know, from the Universe and beyond. Video games responding to the arrival of the future is not just imagined in fictional settings (e.g. The Legenda of Zelda: Majora’s Mask, Nintendo, 2000; Horizon: Zero Dawn, Guerrilla Games, 2017), but within game design. In the last decade an increasing number of video games requiring limited human intervention has been released. Incremental/ idle games such as Cookie Clicker (Julien Thiennot, 2013) and AdVenture Capitalist (Hyper Hippo Productions, 2014) require an initial input from the player to start, and then keep playing themselves in the background operations of a laptop or smartphone. Virtual environments can be entirely designed by algorithms, as experimented by Hello Games for No Man’s Sky (2016). Artificial Intelligence is also used to play games. Screeps, a massive-multiplayer online game, requires players to program an AI that will play the game in their place, and which will “live within the game even while you are offline” (Screeps Team, 2014). Ghost cars in racing games replace the human actor with a representation of their performance. The same concept is further explored by the Drivatar of the Forza Motorsport series (Microsoft Studios, 2005-2017), which simulates the driving style of the player and competes online against other AI-controlled cars. These are only some of the examples that suggest that human beings are becoming peripheral in the act of playing games. In short, it is probably becoming ‘easier to imagine the end of the world than the end of gaming’. While studies on games with no players, and on the non-human side of gaming, have been proposed in the past, my presentation takes a non-normative and non-systemic approach to the study of games for the Post-Anthropocene. I am concerned with the creative potential of the paradoxes, spoofs, and contradictions opened by games that take Man/Anthropos as being no longer at the centre of ‘interaction’, ‘fun’, and many other mythological aspects of digital gaming. Nonhuman gaming questions the historical, political, ecological and even geological situatedness of our knowledge on games and gamers, interaction and passivity, life and death

The Paranoiac-Critical Method of Reflectance Transformation Imaging

A performative talk examining Reflectance Transformation Imaging (RTI), an open source computational photographic process that is transforming methodologies in archaeology and heritage conservation for its ability to interactively re-light artefacts within a virtual hemisphere of illumination and extrude a digital topography that is hyper-legible in space-time, from its contemporary application in facial recognition via Bertrand Tavernier's 1980 science fiction film La Mort en Direct and a return of the death mask through digital extrusion, ultimately locating a progenitor of the heightened objectivity promised by RTI paradoxically in Surrealist photography and the fugitive facialities of Salvador Dali's Paranoiac-Critical Method. As emerging imaging technologies such as RTI are seen to open novel ways of extracting latent data from historical artefacts, reassembling objects of study in a new (virtual) light, collateral opportunities provided by these technologies to re-enter archival still and moving image recordings inadvertently recalibrate their spatio-temporal ground and destabilise their indexical reading through an excessive production of new traces and signs. If methodologies can be seen to play a significant role in constructing their objects of study, then emerging computational imaging operations such as RTI have their own subjectivities to disclose: In performing a media archaeology of this digital process, the talk proposes that we not only narrate the subjects of our study but the very tools of investigation themselves

Strategic Latency Unleashed: The Role of Technology in a Revisionist Global Order and the Implications for Special Operations Forces

The article of record may be found at https://cgsr.llnl.govThis work was performed under the auspices of the U.S. Department of Energy by Lawrence Livermore National Laboratory in part under Contract W-7405-Eng-48 and in part under Contract DE-AC52-07NA27344. The views and opinions of the author expressed herein do not necessarily state or reflect those of the United States government or Lawrence Livermore National Security, LLC. ISBN-978-1-952565-07-6 LCCN-2021901137 LLNL-BOOK-818513 TID-59693This work was performed under the auspices of the U.S. Department of Energy by Lawrence Livermore National Laboratory in part under Contract W-7405-Eng-48 and in part under Contract DE-AC52-07NA27344. The views and opinions of the author expressed herein do not necessarily state or reflect those of the United States government or Lawrence Livermore National Security, LLC. ISBN-978-1-952565-07-6 LCCN-2021901137 LLNL-BOOK-818513 TID-5969

Volume II Acquisition Research Creating Synergy for Informed Change, Thursday 19th Annual Acquisition Research Proceedings

ProceedingsApproved for public release; distribution is unlimited

Cyber-Narrative in Opera: Three Case Studies

This dissertation looks at three newly composed operas that feature what I call cyber-narratives: a work in which the story itself is inextricably linked with digital technologies, such that the characters utilize, interact with, or are affected by digital technologies to such a pervasive extent that the impact of said technologies is thematized within the work. Through an analysis of chat rooms and real-time text communication in Nico Muhly’s Two Boys (2011), artificial intelligence in Søren Nils Eichberg’s Glare (2014), and mind uploading and digital immortality in Tod Machover’s Death and the Powers (2010), a nexus of ideologies surrounding voice, the body, gender, digital anthropology, and cyber-culture are revealed. I consider the interpretive possibilities that emerge when analyzing voice and musical elements in conjunction with cultural references within the libretti, visual design choices in the productions, and directorial decisions in the evolution of each work. I theorize the expressive power of the operatic medium in dramatizing and personifying new forms of technology, while simultaneously exposing how these technologically oriented narratives reinforce and rely upon operatic tropes of the past. Recurring themes of misogyny and objectification of women across all three works are addressed, as is the framing of digital technology as a mechanism of dehumanization. This analysis also focuses on the unique sung and embodied aspect of opera, and how the human voice shapes concepts of identity, agency, and individuality in the digital age. All three case studies demonstrate how opera gives the cyber-narrative every possible mode of expression to explore the complexities and anxieties of human-machine relationships in the digital era, as all three operas question how the thematized technologies may come to re-define our perception and experience of humanity itself

Re-Platformed Planet? The Rise and Spread of Chinese Technology Platform Companies

This thesis seeks to answer the question—what are the implications if Chinese platform technology companies expand around the world? To answer this question the research assesses whether platforms have powers of influence; if Chinese platforms have such powers; if they do, are they using such powers on behalf of the Chinese Communist Party (CCP) outside of China; and what might accelerate or inhibit their global expansion. The research expands on and connects current scholarship in a number of fields, among them: geoeconomics, business, technology & media, influence operations, and political economy. Evidence from a wide range of scholarship, Chinese policy documents, media coverage, and interviews provides answers to these questions. Two frameworks were developed to help evaluate platform influence powers and actors. Findings: Platforms are designed as “architectures of influence,” enabling a core set of actors to exert influence through them. Chinese platforms, have arguably enhanced influence capabilities because of their partnership in building and implementing China’s domestic surveillance and control infrastructure. Where they are expanding globally, there is evidence Chinese platforms are exerting influence on behalf of the CCP—and they are expanding rapidly, particularly in emerging markets. Nevertheless, they have not as yet superseded Western platforms’ presence. However, a number of factors could accelerate Chinese platform proliferation—innovation, loss of confidence in Western models, technology decoupling, internet standards and governance, and China’s technology stack. Other factors could inhibit their expansion—the current regulatory crackdown in China, impressions of China’s domestic and foreign policy actions, weaknesses in China’s soft power, and principal/agent effects. Based on the research and current trends, it is likely that Chinese platforms will continue to expand and act even more effectively on behalf of the CCP. The implications of this could be significant at the country level and for the global order. The thesis concludes with policy recommendations and suggested areas of further research

Poetics of Artificial Intelligence in Art Practice: (Mis)apprehended Bodies Remixed as Language

With a focus on the last five years, art employing artificial intelligence (AI) has been defined by a spectrum of activity, from the deep learning explorations of neural network researchers to artists critiquing the broader social implications of AI technology. There is an emergence of and increasing access to new tools and techniques for repurposing and manipulating material in unprecedented ways in art. At the same time, there is a dearth of language outside the scientific domain with which to discuss it. A combination of contextual review, comparison of artistic approaches, and practical projects explores speculation that the conceptual repertoire for remix studies can open up to art enabled by AI and machine learning (ML). This research contributes a practical, conceptual and combinatorial approach for artists who do not necessarily have a grounding in engineering or computer science. A bricolage methodology—described by Annette Markham as combining serendipity, proximity and contingency—reveals the poetics of AI-enabled art in the form of an assemblage of techniques that understands poetics as active making (poiesis) as well as an approach to manipulating language. The poetic capacity of AI/ML is understood as an emergent form of remix technique, with the ML at its core functioning like a remix engine. This practice based research presents several projects founded on an interrelation of body, text Bruce Gilchrist. Poetics of Artificial Intelligence in Art Practice: (Mis)apprehended Bodies Remixed as Language. 3 and predictive technology enabled by a human-action-recognition algorithm combined with a natural language generator. A significant number of artistic works have been made around object and facial recognition, while very little (if any) artist activity has focused on human-action-recognition. For this reason, I concentrated my research there