The Rollamo 1999

https://scholarsmine.mst.edu/speccoll_yearbooks/1095/thumbnail.jp

The Rollamo 2000

https://scholarsmine.mst.edu/speccoll_yearbooks/1096/thumbnail.jp

The Multi-Agent Programming Contest: A r\'esum\'e

The Multi-Agent Programming Contest, MAPC, is an annual event organized since 2005 out of Clausthal University of Technology. Its aim is to investigate the potential of using decentralized, autonomously acting intelligent agents, by providing a complex scenario to be solved in a competitive environment. For this we need suitable benchmarks where agent-based systems can shine. We present previous editions of the contest and also its current scenario and results from its use in the 2019 MAPC with a special focus on its suitability. We conclude with lessons learned over the years.Comment: Submitted to the proceedings of the Multi-Agent Programming Contest 2019, to appear in Springer Lect. Notes Computer Challenges Series https://www.springer.com/series/1652

Missouri S&T Magazine Summer 2005

https://scholarsmine.mst.edu/alumni-magazine/1048/thumbnail.jp

The Missouri Miner, November 13, 1996

https://scholarsmine.mst.edu/missouri_miner/3739/thumbnail.jp

Missouri S&T Magazine Summer 2006

https://scholarsmine.mst.edu/alumni-magazine/1044/thumbnail.jp

Returning again. Resurrection narratives and afterlife aesthetics in contemporary television drama

This article examines the return of the dead to life in two television drama series of the last decade, Les Revenants (The Returned; 2012–15, Canal) and Glitch (2015–19, ABC Studios). The returning dead do not figure as classic undead figures, as ghosts or zombies, instead returning to life exactly as they were at the point of death and in search of a renewed purpose and an ultimate destiny. This, the article suggests, can constitute a form of latter-day resurrection. The article shows how both series present established religion as incapable of recognizing the return of the dead, while science and the secular state are also never wholly able to explain and manage these apparent miracles. The return of this seemingly religious trope to an ostensibly secular world and the mutual jostling and overlapping of theological, scientific, and aesthetic discourses, as they seek to represent and explain the mystery, not only constitutes a postsecular theme but also occasions the search, at times inherent to artistic form, at times explicit and self-reflexive, for an appropriately postsecular televisual aesthetics