Pintu Terlarang a Disconcerting Spatial Interpretation of Urban Dystopia

The main character of the film Pintu terlarang (The forbidden door), Gambir, attains success in the art world by making statues of pregnant women. Part of his creative process is to insert dead foetuses into the wombs of the statues. His troubled soul meets a written request for help by a child he encounters in various places. The journey to find the child leads him to a secret door, revealing a terrifying reality of a dehumanized world. The city, commonly characterized by a sense of vastness, is set in opposition to small, enclosed spaces where individuals converse with their utmost self. The questions explored are: What is the role of space in engendering urban dystopia? In what ways does the selection of different space settings help create a dehumanized world? I argue that urban dystopia is created when the inhabitants of a city return to enclosed spaces in an effort to find an existence. When individuals prefer enclosed spaces and fail to reconstruct existing meanings, tendencies toward dystopia will come forward and city life will degenerate

Global Computing II. Terms of reference for the FP6-EU-FET call.

The European Commission has decided to continue and develop its FET “Global Computing,” and will shortly announce the opening of “Global Computing II.” The call is expected in May 2004, with application deadlines in September, and expected start date for selected projects in March 2005

Global Risks 2012, Seventh Edition

The World Economic Forum's Global Risks 2012 report is based on a survey of 469 experts from industry, government, academia and civil society that examines 50 global risks across five categories. The report emphasizes the singular effect of a particular constellation of global risks rather than focusing on a single existential risk. Three distinct constellations of risks that present a very serious threat to our future prosperity and security emerged from a review of this year's set of risks. Includes a special review of the important lessons learned from the 2011 earthquake, tsunami and the subsequent nuclear crisis at Fukushima, Japan. It focuses on therole of leadership, challenges to effective communication in this information age and resilient business models in response to crises of unforeseen magnitude

Eulogy to Architecture: The Three-Dimensional Collage City of Nostalgia

In our time of existence on the Earth, human beings have designed and realized beautiful things. As we face the challenges that confront us today, we begin to understand the fragility of humankind’s creations. Many of the world’s cities and buildings lie in ruins, gazed at by tourists, studied by scholars, while more lie buried in the ground for hundreds of years, some never to be rediscovered. Everything around us is an accumulation of knowledge and ideas built upon for centuries, now facing questionable circumstances. Of course, the more recent Aleppo and other Middle Eastern cities have fallen subject to bombings over the past years, now lost forever. Climate change threatens coastal cities around the world; natural disasters unexpectedly take from our grasp things that we have had for centuries. Nothing is for certain. Nothing lasts forever. Every built structure, no matter the value, eventually falls. What if the earth is one day no longer ours? Its livelihood depends on us, and our sustained wars and climatic abuse continue to decay the soil we walk on and the air we breathe. Will humans be forced from the planet that we have forever called home? This project imagines a new world built on the framework of nostalgia. It is a eulogy to architecture, a compilation of fragments of our world to recreate a place once lost. The city is designed as a three-dimensionalization of Rowe’s Collage City so as to create an assemblage of parts that form a whole. Various scales of fragments of earth, ranging from single buildings to neighborhood fabrics, are arranged in a volumetric space. This space is located away from the gravitational pull of the Earth, making it possible to collage fragments vertically as well as horizontally. The city embraces both the beauty and imperfections of the collected places. To call it a utopia is forward, considering that the majority of each of the employed places were not originally designed as utopian; thus one cannot project utopianism upon them simply because they have a diĐerent context. One might question how an organic system of organization could ever be considered utopian, considering the lack of planning. However, if utopianism is based on the perfection of the human itself rather than the environment, this city aims to imbue a sense of nostalgia in each human mind, with the idea that these places are inherently important to us as a species and to our connection to Earth itself. This project is a visual essay about the importance of what humans have created for themselves on the Earth. It is a conceptual idea that aims to transcend fears of loss by giving hope for a new world collaged from existing fragments of built fabric

An Ever-Compromised Utopia : Virtual Reality in Thomas Pynchon's Bleeding Edge

Peer reviewe

The locative dystopia

Locative media uses portable, networked, location aware computing devices for user-led mapping and artistic interventions in which geographical space becomes its canvas. The discourse of locative media gestures to a convergence of the digital domain and geographical space, and the course it plots towards this future demands not only that data be made geographically specific but also that the user - if not defined by their location - at least offers up their location as a condition of entering the game. In this respect, not to mention its choice of tools, locative media operates upon the same plane as military tracking, State and commercial surveillance, forcing a consideration of how locative media might challenge, or be complicit with such forms of social control