Roots and reassessment of the Cuban 'guerrilla ethos' : from the armed imperative to the end of foquismo

Based on original interviews and rare archival sources, the central thread of this article is the origin, rise and reassessment of the Cuban Revolution’s «guerrilla ethos» that shaped the political creed of the first revolutionary generation. During the anti-Fulgencio Batista insurrection (1952-1959), the belief that only violence could lead to the ousting of the dictator steadily gained traction among the opposition as the right path to revolution. This radical approach was already voiced by a number of movements prior to the Moncada attack (July 1953), when Fidel Castro became a public national figure, and was crowned by the advent of the revolution in 1959. The revolutionary administration established an insurrectional doctrine – sometimes known as foquismo – that stemmed from the «lessons » of the anti-Batista fight and guided the island’s external involvements throughout the sixties. However, the «guerrilla mentality» confronted major challenges in the second half of the decade (guerrilla’s defeats, Soviet pressures). This article stresses an additional and often forgotten component that, nonetheless, exerted a powerful effect on Cuba’s reconsideration of its previous revolutionary principles: the unfolding of the Juan Velasco Alvarado military government (1968-1975) in Peru, promptly labelled in Havana as a viable route to «revolution», which resulted in a partial revision of the «guerrilla ethos» that emerged in fifties

Museums & Society 2034: Trends and Potential Futures

What challenges will society and museums face in the next quarter-century? How will the demographic profile of America change between now and 2034? How will energy and infrastructure costs affect the sustainability of museums? What will Web 3.0 -- or 5.0 or 6.0 -- look like? Will the "real" survive the assault of the "virtual"? Will the number of leisure-time alternatives continue to grow? Will the lines between work and leisure, public and private, continue to blur? Most importantly, how will museums face these challenges and shape the future they will have to inhabit?This report, commissioned by the Center for the Future of Museums at the American Association of Museums, projects current social trends to 2034 and suggests how museums can face future challenges while continuing to meet their mission of public service. The report focuses on four major trends: demographic shifts, globalization, the revolution in information and communication technologies, and new cultural assumptions about the primacy of the individual as creator and curator

Generative Design in Minecraft (GDMC), Settlement Generation Competition

This paper introduces the settlement generation competition for Minecraft, the first part of the Generative Design in Minecraft challenge. The settlement generation competition is about creating Artificial Intelligence (AI) agents that can produce functional, aesthetically appealing and believable settlements adapted to a given Minecraft map - ideally at a level that can compete with human created designs. The aim of the competition is to advance procedural content generation for games, especially in overcoming the challenges of adaptive and holistic PCG. The paper introduces the technical details of the challenge, but mostly focuses on what challenges this competition provides and why they are scientifically relevant.Comment: 10 pages, 5 figures, Part of the Foundations of Digital Games 2018 proceedings, as part of the workshop on Procedural Content Generatio

Landscapes and Sublime Memories: Revisiting Liang Xiaosheng's "A Land of Wonder and Mystery"

This essay suggests memory studies, ecocriticism, and trauma studies as new avenues for the study of rusticated youth narratives. Towards reaching this goal, I first introduce a meditation on memory by Paul Ricoeur (1913-2005), especially his sketch of memory and imagination with classical Greek philosophy. His ideas on affective and practical memories are then telescoped into individual and communal memories. Onze Fleurs (Wo shiyi, 2011), directed by Wang Xiaoshuai (1966- ), and The River without Buoys (Meiyou hangbiao de heliu, 1984), directed by Wu Tianming (1939-2014) provide illustrative examples of each. Building upon these notions of personal memory I turn to the popular memory of rustication, especially that of the natural environment in Liang Xiaosheng's "A Land of Wonder and Mystery" ("Zhe shi yipian shenqi de tudi," 1985). More specifically I examine the evocation of the ghost marsh, narratives of departure, the family left in the city, and the menace of nature in Liang's short story to force not only a reconsideration of rustication, but also of nature in contemporary China. Moreover, in addition to noting the questioning of the sanitization of rusticated memories as a means of conforming to dominant state ideological discourses, I introduce a comparison of the story of doomed rusticated youth to the doomed youth in Sean Penn's Into the Wild, in order to force a comparison of youth and the environment often overlooked in rusticated youth studies. Finally, this essay concludes by suggesting that by more carefully considering the interplay between memory and place more nuanced and perhaps more ecologically and critically engaged assessments of rusticated youth fiction become possible

The Forking Paths: an interactive cinema experience

The project The Forking Paths aims to create a set of interactive cinematographic narratives, within an applied research that seeks to transfer the spectator from an extradiegetic level to an intradiegetic level, creating a metalepsis. The intention is, above all, to analyze the possibilities of the spectator’s identification as the main character, by the manipulation of the idea of time in Cinema. We aim to reach this proposal through the use of specific narrative resources, as well as through the possibility of choice between alternative image flows. The project The forking paths is intended to be available in different media and supports suchas the Internet, touch sensitive screen devices and conventional cinemas.info:eu-repo/semantics/publishedVersio

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