Blog #8

In what ways does Mellencamp challenge the arguments regarding virtual technologies and immersive experiences put forth in Scott Bukatman’s “Zooming Out”? For Mellencamp, what happens to narrative in the digital age? In what ways is The Matrix a gaming rather than a traditional film viewing experience?

According to Baudrillard, what is the "hyperreal"?

Blog #7

Douglas Trumbull, "Slit Scan" effect for 2001: A Space Odyssey

According to Scott Bukatman ("Zooming Out: The End of Offscreen Space"), how did the development of new visual and immersive entertainments such as the kaleidoscope, panorama, large-scale landscapes, and diorama during the nineteenth century help acclimate the body to new urban environments and transportation technologies? What is the “end of off-screen space”? For Bukatman, what are the implications of new virtual technologies on embodied experience?

"Honda Develops a Robot Controlled By Human Thought" NYT April 1 2009

Although believed to be an April Fools' joke, it seems that Honda has developed a machine that can be controlled by human thought. Brain-Machine Interface allows brain patterns to be sent to robot Asimo, who then is able to enact movements that correspond to the human user's brain image. Well, check out the video and decide for yourself.

Click here for article and video.

Blog #6

Briefly address the following:

How does Haraway (“A Cyborg Manifesto”) expand upon the traditional definition of the cyborg? What is the cyborg’s relation to and challenges it poses to the Western tradition, particularly the “myth of original unity” and dualism (mind/body, male/female, culture/nature)? Describe the three “boundary breakdowns” that have given the cyborg myth its political potential. How does “cyborg writing” express the dispersed, non-unified self that emerges within the conditions of advanced industrialized societies (discuss one example from the essay)?

"They're Out of This World" NYT Thursday March 26

As our former president suggested, let's go to Mars! This NYT article suggests that a new surge in sci-fi inspired fashion offers optimism for the future during bleak economic times. Not only do we want to dress up like superheroes, we also seek visions of the future through our past imaginings -- Watchmen, Star Trek, Buck Rogers -- are all coming to our movie screens within the year. A telling quote:

“We’re frantic to lose ourselves in fantasy,” said Martin Kaplan, an associate dean of the Annenberg School for Communication at the University of Southern California. “We love heroes, not technocrats. When times are so grim that you can’t get out of bed, you dream of someone who can fly.”

Click here to read article.

We also desire to make these visions a reality -- check out this article on Charles Simonyi, a "space tourist" on the International Space Station (only $35 million for the 13-day mission!). Virgin Galaxtic has plans to offer space flights for a more accessible $200,000.

Also click here for NYT article.

"Finn Creates USB 'Finger Drive'" BBC March 17 2009

A software designer who lost part of his finger in a motorcycle accident creates a prosthetic that also acts as a storage device.

"Jerry Jalava uses the 2GB memory stick, accessed by peeling back the "nail", to store photos, movies and programmes."

See article here.

Blog #5

Still, Alien: Resurrection (Jean-Pierre Jeaunet, 1997)

According to Barbara Creed ("'Alien' and the Monstrous-Feminine"), why is the "mother" perceived as a threat? What is the "abject" and how does it secure boundaries between the human and non-human (monstrous) in Alien? What is the "primal scene" and how does Alien as horror/science fiction represent the primal scene for the spectator? According to Creed, why does the spectator derive fear/pleasure from viewing the horror film?