Practical Considerations and Applications for Autonomous Robot Swarms

In recent years, the study of autonomous entities such as unmanned vehicles has begun to revolutionize both military and civilian devices. One important research focus of autonomous entities has been coordination problems for autonomous robot swarms. Traditionally, robot models are used for algorithms that account for the minimum specifications needed to operate the swarm. However, these theoretical models also gloss over important practical details. Some of these details, such as time, have been considered before (as epochs of execution). In this dissertation, we examine these details in the context of several problems and introduce new performance measures to capture practical details. Specifically, we introduce three new metrics: (1) the distance complexity (reflecting power usage and wear-and-tear of robots), (2) the spatial complexity (reflecting the space needed for the algorithm to work), and (3) local computational complexity (reflecting the computational requirements for each robot in the swarm). We apply these metrics in the study of some well-known and important problems, such as Complete Visibility and Arbitrary Pattern Formation. We also introduce and study a new problem, Doorway Egress, that captures the essence of a swarm’s navigation through restricted spaces. First, we examine the distance and spatial complexity used across a class of Complete Visibility algorithms. Second, we provide algorithms for Complete Visibility on an integer plane, including some that are asymptotically optimal in terms of time, distance complexity, and spatial complexity. Third, we introduce the problem of Doorway Egress and provide algorithms for a variety of robot swarm models with various optimalities. Finally, we provide an optimal algorithm for Arbitrary Pattern Formation on the grid

Drones, Signals, and the Techno-Colonisation of Landscape

This research project is a cross-disciplinary, creative practice-led investigation that interrogates increasing military interest in the electromagnetic spectrum (EMS). The project’s central argument is that painted visualisations of normally invisible aspects of contemporary EMS-enabled warfare can reveal useful, novel, and speculative but informed perspectives that contribute to debates about war and technology. It pays particular attention to how visualising normally invisible signals reveals an insidious techno-colonisation of our extended environment from Earth to orbiting satellites

Passbook

Passbook is a nostalgic novel that considers the meaning of love and family on the edge of a post-mortal near future. As the era of austerity enters its third decade, a social media platform—the eponymous Passbook—allows the living to interact with the dead, and changes the landscape of longevity forever. Wyatt Simmons, a young underemployed college graduate, finds himself locked out of the American Dream by suppressed wages, strangled career opportunities, and overwhelming debt. While coping with the un-deaths of his mother and sister, and estrangement from his financially-comfortable careerist father, Wyatt perseveres in a dissatisfying relationship of necessity with his long-time girlfriend Sara Grayson, and uses what little money he can scrounge to try and catapult himself into the spotlight of the Lego Corporation, his dream employer. At work, he meets Pepper Boswick, a wisecracking children’s clothing store salesperson by day and a legendary professional gamer by night, and the two of them hatch a plan to bust Wyatt, and his grand Lego project, out of Sara’s apartment. Meanwhile, a shadowy figure named Kilroy—half internet-age demagogue, half mad-genius—has his own plans for Wyatt’s generation and the gridlocked gerontocracy of Passbook. The novel operates in a tragic-comedic mode, with elements of both satirical-nostalgic humor and profound disillusionment. Rather than make the easy jab at generational conflict and us-vs.-them thinking, Passbook enmires Wyatt in a shifting tangle of duty to his family (many of whom are “Posterity” users of Passbook, meaning they are deceased and therefore functionally immortal), to his own generation (friends, coworkers, and girlfriends, who he most relates to) and to himself (in the form of a hopeless struggle to grow up in a world of work that seems not to need or want him). Wyatt’s relationship with his father takes center-stage in the novel’s second half, as his work- and love-lives collapse around him, and force him to confront his grievances, some real and some imagined, with the man, the family, and to an extent the larger era that raised him

Space opera: a hybrid form of science fiction and fantasy

This thesis considers space opera as a hybrid form of science fiction and fantasy.“Falling Stars,” the creative component which includes fantasy, space opera and science fiction stories, constitutes a spectrum of speculative fiction. In order to illustrate the similarities and difference between the genres represented in the spectrum, I focus on the central figure of the alien other and the ways in which such a figure can be gendered and embodied. The space opera novella combines motifs of both fantasy and science fiction within the figure of the cyborg, Orlando, who is transgendered and hyperchangeably embodied.The exegesis offers a theoretical context through which to view the creative work. I argue that space operas are melodramatic adventure stories, which operate as a hybrid form of science fiction and fantasy, using the non-realist expectations inherent in both, but mixing the extrapolations and icons of science fiction with the self-consistent but unbelievable discontinuities of fantasy. I also consider space opera’s tendency to exhibit a conservative, unexamined colonialistic imperative, with the attendant assumptions that create a potential for feminist subversion

Art as we don't know it

2018 marked the 10th anniversary of the Bioart Society and created the impetus for the publication of Art as We Don’t Know It. For this publication, the Bioart Society joined forces with the School of Arts, Design and Architecture of the Aalto University. The close history and ongoing collaborative relationship between the Bioart Society and Biofilia – Base for Biological Arts in the Aalto University lead to this mutual effort to celebrate together a diverse and nurturing environment to foster artistic practices on the intersection of art, science and society. Rather than stage a retrospective, we decided to invite writings that look forward and invite speculations about the potential directions of bioarts. The contributions range from peer-reviewed articles to personal accounts and inter-views, interspersed with artistic contributions and Bioart Society projects. The selection offers a purview of the rich variety, both in content and form, of the work currently being made within the field of bioart. The works and articles clearly trouble the porous and provisional definitions of what might be understood as bioart, and indeed definitions of bioart have been usefully and generativity critiqued since the inception of the term. Whilst far from being definitive, we consider the contributions of the book to be tantalising and valuable indicators of trends, visions and impulses. We also invite into the reading of this publication a consideration of potential obsolescences knowing that some of today’s writing will become archaic over time as technologies driven by contemporary excitement and hype are discarded. In so doing we also acknowledge and ponder upon our situatedness and the partialness of our purview in how we begin and find points of departure from which to anticipate the unanticipated. Whilst declining the view of retrospection this book does present art and research that has grown and flourished within the wider network of both the Bioart Society and Biofilia during the previous decade. The book is structured into four thematic sections Life As We Don’t Know It, Convergences, Learnings/Unlearnings, Redraw and Refigure and rounded off with a glossary

The Digital Turn in Indian Film Sound: Ontologies and Aesthetics

My project maps film sound practices in India against the backdrop of the digital turn. It is a critical-historical account of the transitional era, roughly from 1998 to 2018, and examines practices and decisions taken ‘on the ground’ by film sound recordists, editors, designers and mixers. My work explores the histories and genealogies of the transition by analysing the individual, as well as collective, aesthetic concerns of film workers migrating from the celluloid to the digital age. My inquiry aimed to explore linkages between the digital turn and shifts in production practices, notably sound recording, sound design and sound mixing. The study probes the various ways in which these shifts shaped the aesthetics, styles, genre conventions, and norms of image-sound relationships in Indian cinema in comparison with similar practices from Euro-American film industries. I analysed nearly 60 hours of interviews I conducted with sound practitioners in India, examined trade magazines, online journals, the personal blogs of practitioners, technological literature from corporations like Dolby and Barco, and, as case studies, analysed the soundtrack of key Indian films from both the analogue and the digital eras. While my research clearly indicated significant shifts from the analogue to the digital era in India – increased stratification of sound recording and editing processes, aggressive adoption of multichannel sounds, wider acceptance of sync sound, the increasing dominance of the sound designer – it also revealed that many of the analogue era practices remain deeply embedded within digital era conventions. Moreover, technologies and practices from the Euro-American context have undergone substantial ‘Indianisation’ during the process of their adoption. I argue that digital technology, while reshaping deeply institutionalized practices of the analogue era, contributed to particularly radical changes in the practices of sound recording and editing in the digital era in India. While this dissertation is an ethnographic investigation of ‘living history’, it is largely informed by film sound theory, and seeks to achieve a balance between empirically grounded historical research and film theory

Subject to Change: Democracy, Disidentification, and the Digital

Radical democratic politics in the digital age is characterized by the widespread emergence of participatory spaces generated by state actors and social movements. These new formats of citizen engagement are situated in the context of social inequalities and discrimination of marginalized identities. To counter this problem, feminist debates in democratic theory associated with the term “difference democracy” advocate a politics of presence through physically embodied representation of marginalized groups, providing visibility in the space of appearance. This strategy, however, entails essentializing tendencies as subjects are judged by their physical appearance rather than the content they utter, a problem described as the “dilemma of difference”. This thesis seeks ways out of the dilemma of difference by advancing both freedom and equality in participatory spaces. It explores the relations of freedom and equality that are described as competing values in the democratic paradox. To make the freedom to explore the multiple self compatible with the equality facilitated through the presence of the marginalized, the thesis engages with a range of radical democratic perspectives. To the established participatory, deliberative, and agonistic approaches it adds feminist and transformative perspectives. On these grounds, it develops the concept of a politics of becoming, which is seen as part of a progressive strategy of systemic transformation. Inspired by queer and gender theory, the politics of becoming reinterprets presence as the performative act of self-constitution. To enlarge the free spaces of the subject to change, the thesis suggests radical democratic practices of disidentification through anonymity that affords the opportunity to reject hegemonic identity interpellations and contributes to a democratization of self-constitution. Drawing on new materialist thought allows for an interpretation of both spatial configurations and the subject as agentic assemblages. Anonymity and other modes of disidentification enable an interruption of such assemblages and reassemble spaces and the self. Digital means of communication provide new affordances for identity expressions. The emerging cyborgian subjects reassemble identity and reconfigure the space of appearance. This results in a new politics of presence that expresses embodied difference but still provides freedom for the subject to change