31 research outputs found
Soulful bodies and superflat temporalities: a nomadology of the otaku database of world history at the ends of history
This thesis is a philosophical engagement with the popular, low, and vernacular theories of History performed and expressed within contemporary Japanese manga (âcomicsâ) and anime (âlimited animationâ), and most importantly, in the global production and consumption of otaku (âmanga and anime fanâ) cultural and media ecologies. My project is rooted in a reading of the post-structural theoretical inquiries of Gilles Deleuze in parallel with what media theorist McKenzie Wark calls âotaku philosophyâ to examine how both high and low theories articulate anxieties and fascinations with the global theoretical discourses on âthe ends of Historyâ and the imminent demise of industrial modernity. The first portion of the thesis is dedicated to a reading of the Japanese counter-cultural manga movement called gekiga (âdramatic picturesâ). In traversing gekigaâs post-war lineages to its revival in the medievalism of otaku artists Miura KentarĆ and Yukimura Makoto, the first part postulates on what an anti-modern, anti-historical approach â or what Deleuze and Guattari call a nomadology â might look and feel like as it is mediated in the manga form. The second portion of the thesis examines the way in which Japanese anime mobilises the philosophies of nomadology in its filmic form and transmedial properties. In a critical assessment of the anime works of the otaku-founded media corporation Type-Moon, this section explores the Fate series alongside Deleuzian film and media philosophies to explore the infinite potentialities and recursive limitations of otaku nomadologies as they materialise beyond the screen. By reassessing the rise of otaku culture as a vernacular, global, and cosmopolitan rise in the critique of modernity and History, this thesis hopes to explore how transcultural and transmedial fan philosophies of historicity, memory, and temporality can be recontextualised within current academic debates about the efficacy of post-national historiographic pedagogies explored in the fields of postcolonial studies, comparative studies, global studies, and media studies
"Datum for its own annihilation" : feedback, control, and computing, 1916-1945
Thesis (Ph. D.)--Massachusetts Institute of Technology, Program in Science, Technology, and Society, 1996.Includes bibliographical references.by David A. Mindell.Ph.D
The Digital Logic of Death
In The Digital Logic of Death, Steven Pustay skillfully makes visible the immensely important but often overlooked role that moving images play in shaping our understanding of mortality. This relationship, he argues, is made all the more urgent by the technologies of the digital age, which have profoundly altered our ability to represent and contemplate death through moving images, resulting in an entirely new cultural logic of death. To draw out this new logic, Pustay presents accessible readings of otherwise dense and difficult philosophical approaches to death â such as those found in existentialism, psychoanalysis, and critical theory â by reading them through the lens of contemporary media. From art-house films like IrrĂ©versible and The Fountain to blockbusters like the Matrix trilogy, from television commercials for M&M's to pay-cable dramas like The Sopranos and Breaking Bad, from first-person shooters like Bioshock to indie-games like LIMBO, Pustay shows how moving images have shifted our understanding of death in general and our recognition of our own finiteness in particular
Psychology
Psychology is designed to meet scope and sequence requirements for the single-semester introduction to psychology course. The book offers a comprehensive treatment of core concepts, grounded in both classic studies and current and emerging research. The text also includes coverage of the DSM-5 in examinations of psychological disorders. Psychology incorporates discussions that reflect the diversity within the discipline, as well as the diversity of cultures and communities across the globe.https://commons.erau.edu/oer-textbook/1000/thumbnail.jp
Oblivion\u27s Edge
Oblivion\u27s Edge is a role-playing game. It is a manuscript which provides a fictional setting and the methods for group storytelling within that setting. This is not a typical academic project. It is not a board game, a card game, or a computer game. It is a creative work, more like a novel or collection of short stories than a traditional paper or thesis
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EVA London 2022: Electronic Visualisation and the Arts
The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdomâs most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas.
The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International. As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2022 proceedings includes long papers and short âposterâ papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings.
This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community. As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference
Alien crosstalk
Alien CrosstalkThesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 202
Video Vortex reader : responses to Youtube
The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video â from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media. After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists? What are the alternatives