PhD in Sociotechnical co-design for human-machine configurations

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We are seeking a highly motivated, qualified candidate with a passion for radically embodied thinking and doing, interdisciplinary research, and contributing to a more inclusive and diverse vision of our technological future. A three–year PhD scholarship, including a living stipend of $28,596 per annum plus a total of $3000 candidature support (e.g., to support research-related travel), is available. It is intended to enable research that advances our understanding of diverse sociocultural contexts and embodied, inclusive participatory meaning-making as being integral to designing sociotechnical artefacts and the human-machine configurations they produce. The successful applicant will work with a team of interdisciplinary researchers to contribute to a research project, funded by the Australian Research Council, which investigates how sociotechnical artefacts become social agents through a critical, radically embodied co-design approach.

 

Position Description

Position Title: PhD in Sociotechnical co-design for human-machine configurations
Position Number: TBA
Classification: HDR
Faculty/PAVE Centre/Organisational Unit: FHAD
Department: Centre for Transformative Media 

Position Purpose

We are seeking a highly motivated, qualified candidate with a passion for radically embodied thinking and doing, interdisciplinary research, and contributing to a more inclusive and diverse vision of our technological future.

A three-year fulltime (indexed) PhD scholarship is available for doctoral research that advances our understanding of diverse sociocultural contexts and embodied, inclusive participatory meaning-making as being integral to designing sociotechnical artefacts and the human-machine configurations they produce. The scholarship includes a living stipend of $28,596 per annum plus a total of $3000 candidature support (e.g., to support research-related travel).

The successful applicant will work with a team of interdisciplinary researchers to contribute to a research project, funded by the Australian Research Council, which investigates how sociotechnical artefacts become social agents through a critical, radically embodied co-design approach. Given the cross-disciplinarity of this research, qualified applicants are sought from a variety of backgrounds, e.g., design, performance, communication, social anthropology, or science and technology studies (STS). It is expected that they will apply their expertise to contribute to the development of a critical, arts-led, participatory research program and develop innovative, inclusive methods to engage and study diverse publics in human-nonhuman interaction/relationship scenarios. Possible research topics include (but are not limited to): care-full ethnography for sociotechnical design; human-machine relations and Indigenous knowledges; critical, movement-based participatory design; and any combination of these.


About the Centre for Transformative Media Technologies (CTMT)

The candidate will join a research team in the Centre for Transformative Media Technologies (CTMT) at Swinburne University of Technology (SUT) in Melbourne, Australia. CTMT’s core research objectives are to establish new pathways and extend Swinburne’s core capability in science, innovation and technology with humanities, the arts and social sciences. The Centre has expertise in bringing together cultural, artistic and sociotechnical domains, with an interdisciplinary research focus on exploring how transformative media, such as artificial intelligence, virtual reality and social robotics, change our engagement with the world. The Centre’s research mission is to understand the material practices, histories, and methods for considering technoscientific agendas and the social, cultural and aesthetic dimensions involved, by materially enacting and critically engaging with these transformative sociotechnical experiences. Core research themes are: Creative Arts 4.0, focusing on the potential of creative practice research to disrupt and enhance production innovation techniques, Techmedia Culture, concerned with the critical, cultural, historical and social analyses of emerging creative media technologies, and Digital Cultural Heritage, investigating the preservation and study of born digital media artefacts. CTMT’s facilities include a bespoke research lab for embodied movement design, funded by the Australian Research Council.

The centre is part of the School of Arts, Social Sciences and Humanities, bringing together experts from the humanities, arts, social sciences and education to investigate the co-evolution of society, culture and technology and explore innovative responses to technological transformation. The interdisciplinary embeddedness of the Centre, together with its passionate commitment to embodied, critical, inclusive and experimental investigation thus offers an ideal, vibrant and supportive research environment for this PhD project.


About Swinburne University of Technology

Swinburne is a multi-sector university with more than 54,000 students and 5,000 staff globally with leading edge research centres, strong ties to industry and commitment to high-quality, high-impact research. Our mission is to be a world-class university, creating economic and social impact by bringing together science, technology and innovation with social sciences, arts and humanities.


Location

This position is located at CTMT, at SUT’s Prahran Campus, but the incumbent may be required to undertake duties at any of the University’s Melbourne campuses.  Thus, the incumbent must be willing to travel between campuses and work at a range of locations.


Project Description

This is a scholarship for research training through a 3-year Doctor of Philosophy (PhD). The successful candidate will undertake supervised research with the aim of making a significant, independent and original contribution to knowledge in the selected field(s), leading to the award of Doctor of Philosophy.

The PhD project will be located at the Centre for Transformative Media Technologies (CTMT) at the School of Arts, Social Science and Humanities. The successful candidate will contribute to the Centre’s publication and impact program and will join a cohort of researchers and PhD students at the Centre and be involved in its vibrant research culture. They will be integrated into a research program funded by the Australian Research Council and benefit from supervision by research leaders with expertise across a range of areas, including creative robotics, choreography, new materialism, posthuman design, embodied movement design, and XR design. 

The successful candidate will join the project’s research team and undertake their own distinct PhD project to contribute to the wider research outcomes. The final objectives, scope and core methods of the PhD project will be developed with the successful candidate; however, it is expected that they will engage in critical, participatory design research and either have experience in or will develop the required expertise in ethnographic research techniques.


Possible research pathways

This scholarship is intended to enable research that advances our understanding of the potential of diverse sociocultural contexts and embodied, participatory meaning-making as an integral part of designing sociotechnical artefacts and the human-machine configurations they produce. The PhD project will define its own research program and can approach this objective based on a variety of starting points and practices, aligned with the candidate’s experience and research interests.

Whilst it is not a requirement that the PhD project engages with human-robot interaction per se, we are looking for proposals that show the potential to advance sociotechnical design by engaging questions of embodied meaning-making and/or diversity and inclusiveness (e.g., ethnicity, class, gender, age, accessibility) with respect to proposed research methods. This could involve interactions with embodied agents/artefacts and/or virtual/XR environments, either within the context of participatory design or an ethnographic/socio-anthropological study. The scholarship is intended to expand the ARC-funded Human-Robot Experience (HRX) project led by A/Prof Gemeinboeck, which will develop a series of reconfigurable, multi-media platforms for engaging diverse publics in immersive co-design experiences. HRX cuts across critical posthuman discourse; participatory, embodied design (where design includes performance-making and other movement-based modes of inquiry; and careful ethnography. The HRX project can thus serve the PhD project as a platform for study and/or experimentation or provide a wider research context, together with other human-machine interaction, embodied movement design and XR design projects at the Centre.

The successful applicant is not expected to produce new work across each of the three aforementioned areas (posthuman discourse, embodied design, ethnography). Rather, they outline various possible entry points and the transversal potential that this PhD project could open up; the topical/methodological focus of the PhD research will be negotiated with the successful applicant in relation to their areas of expertise and interest. Independent of the field(s) that the successful applicant will be working in, we look for projects that incorporate participatory studies and/or ethnographic processes and/or experimental performances to critically engage participants/audiences in the ongoing investigation. Possible projects may include (but are not limited to): a methodological or theoretical (e.g., socio-anthropological, decolonial, new materialist dramaturgical, speculative design or co-design) framework for studying human-nonhuman relationships.

For further enquires please contact Associate Professor Petra Gemeinboeck (pgemeinboeck@swin.edu.au).


Candidate Requirements

The successful candidate will have:
• First Class Honours (H1) award or equivalent; for exceptional candidates a H2A award; and/or a Masters degree with clear research project components in a relevant area; or equivalent research experience;
• Background or experience in participatory/experience design or HCI/HRI; or movement-based research/dramaturgy; or human-machine communication; or social anthropology of technology; or STS;

• Prior experience or a strong interest in cross-disciplinary research


Application Process

Applicants should submit an EOI comprising;

  • A one-page cover letter summarising their academic background, research interests, and motivation for applying.
  • An up to four-page statement that responds to the selection criteria and proposed pathways (see position description) in relation to their own research experience and interests. This should include a brief, critical discussion of relevant existing research, including their own work, and an outline of possible research methods and research objectives, as well as links to relevant audio-visual materials online (if applicable).

Please note, at the application stage, we are more interested in seeing the applicant’s ability to develop relevant critical questions and connections and to critically think through innovative cross-disciplinary possibilities and reflect on relevant existing work/positions, rather than formulating a fleshed-out PhD project. The latter will be developed with the successful candidate in consultation with the supervisors.

  • A detailed CV, including details of the applicant’s educational and research/practice/ professional background, as well as names and contact details of two referees
  • Copies of degree certificate(s) and grade transcripts

 

Closing date for applications: 31st of May 2021

Please email a zipped folder of the above documents (with CTMT SUPRA in subject line) to: Associate Professor Petra Gemeinboeck (pgemeinboeck@swin.edu.au) and Research Coordinator Robert McMahon (rmcmahon@swin.edu.au)

This is a two-stage application process, with shortlisted applicants being contacted for an interview (via Zoom). The interview will offer applicants the opportunity to meet their potential supervisors and to discuss their research interests within the wider context of the Human-Robot Experience (HRX) project, which the scholarship is linked to.

Swinburne is a large and culturally diverse organisation. We are proud of our commitment to equity and inclusion through key initiatives such as our Charter of Cultural Diversity, Pride@Swinburne Strategic Action Plan, Science in Australia Gender Equity (SAGE) Action Plan and our Reconciliation Action Plan. Equity and diversity are integral to our 2025 vision to be a world class university creating social and economic impact through science, technology and innovation.

For further enquires please contact Associate Professor Petra Gemeinboeck (pgemeinboeck@swin.edu.au)


Key Selection Criteria

Candidates are required to respond to each of the selection criteria.

Qualifications  A Bachelor Degree Honours and/or a research Master’s degree in a discipline relevant to the research topic (or equivalent) Essential
  Native English language or International English Language Testing System (IELTS) examination certificate with a minimum overall score of 6.5 with no individual band score below 6.0 Essential
Experience/
Knowledge/Attributes
A background and experience in one of the following;Anthropology (with experience and interest in social anthropology of technology);Communication (with experience and interest in embodied human-machine communication); Design (with experience and interest in experience design, participatory design, HCI, HRI, or citizen science);Performance studies (with experience/interest in embodiment and technology, dance and technology, or choreography, object theatre, dramaturgy within the context of human-nonhuman inter-affectivity and/or human-machine ecologies); Science and Technology studies (with experience/interest in post-humanism, human-machine configurations, inclusiveness, or embodied AI); Or other relevant fields   Essential  
  evidence of prior research experience (practice-based and/or traditional, publication-based), in particular, prior engagement and experience with participatory research/study methods or relevant ethnographic research methods; participatory performance-making; relevant co-design and/or prototyping skills (e.g., interactive prototyping, user experience); or motion-capture techniques. Desirable
Other A valid working with children’s check card Essential

La Comédie Virtuelle (multi-user VR) – Gilles Jobin – Venice Film Festival VR Expanded

La Comédie Virtuelle (Multi-user VR) - Gilles Jobin - Venice Film Festival VR Expanded

The Embodied Movement Design team is currently working with award-winning Swiss choreographer Gilles Jobin and Australian dancer Victoria Chiu to present a multi-user VR work at the 2020 Venice VR Expanded.

The work unites dancers from three parts of the world – Geneva, Sydney and Bangalore – within a real-time VR environment. The audience also views the work in VR.

This work represents a major step forward in linking dancers and audiences around the work at a time when the COVID-19 crisis has all but severed our international connections. La Comédie Virtuelle enacts a vision shared by Gilles Jobin and the international collaborators on this project of the power of immersive and interactive technologies to generate new aesthetics and new ways of working and collaborating across the dance world.

Partners

Companie Cie Gilles Jobin

Victoria Chiu

Venice Film Festival – VR Expanded

Viga Entertainment, Bangalore

Full production information: https://www.gillesjobin.com/en/creation/virtual-comedie/

 

Investigators

Kim Vincs
John McCormick
Stephen Jeal
Joshua Reason
Adam Carr

Gilles Jobin and his digital dance company created La comédie virtuelle, the digital model of la comédie, a real theatre being built in Geneva. La comédie virtuelle is a multi user social experience accessible in VR and with desktops computers. Just like a real theatre, audience, represented as avatars, can gather together to visit the building, talk to each other, interact and assist to performances in real time. After its inauguration La comédie virtuelle will function as an active XR hub for research and production for the regular digital program of la comédie in Geneva. For the Venice Biennale, Gilles Jobin and his digital dance company present a live performance in real time everyday of the festival.

Kim Vincs and the EMD studio team are collaborating with Gilles Jobin to enable Victorian dancer, Victoria Chiu, to perform in the work from Sydney, alongside Diya Naidu, working with Viga Entertainment in Bangalore, and dancers Susana Panadés Diaz, Rudi van der Merwe, József Trefeli in Geneva.  

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Safety at Work

Safety at Work

Safety at Work is an applied research project to integrate immersive experiential learning with positive behaviour support training in the disability sector.

Partners

Victorian Government 

Swinburne PAVE

Scope

 

Investigators

Kim Vincs (TMT)
John Scahill (SCOPE)
Debbie McLaughlin (PAVE)
Mark di Marco (SCOPE)
Jeni Paay (Swinburne CDI)
Rachael McDonald (Swinburne CDI)
Jordy Kaufman (Swinburne CMH)
John McCormick (TMT)
Karen Hall (PAVE)
Brendan Parsons (SCOPE)
Aoife McCann (SCOPE)
Natasha Drozdoff (SCOPE)
Karen Phelps (SCOPE)

Casey Richardson (TMT)
Casey Dalbo (TMT)
Haydon Bakker (TMT)
Adam Carr (TMT)
Jordan Cook-Irwin (TMT)
Stephen Jeal (TMT)
Irene Gironacci (TMT)
Tony Nguyen (TMT)
Esther Wilding (CDI)
Warren Davis (SCOPE)
Kathlyn Moynihan (PAVE)
Jacinta Purnaro (SCOPE)

Occupational violence is a significant risk within the disability sector, in particular where frontline support workers are supporting people with a disability in a residential or community environment where some individuals may exhibit challenging behaviours, in extreme cases involving violence. Acknowledging this challenge, Scope, one of Australia’s largest providers of disability support services and the lead provider of PBS training in Victoria, approached us with an ambitious workforce innovation idea.   This idea has become ‘Safety at Work’, a multi-disciplinary research initiative that will mainstream VR for training disability support workers in positive behaviour support (PBS) for people with disabilities. Working with Scope, and with Swinburne PAVE, the Embodied Movement Design Studio team, led by Professor Kim Vincs, is developing a new approach to VR-based PBS training. We are using our deep creative and performance knowledge to co-create a set of five VR scenarios that have the key learning elements of PBS embedded within the choices users make, within an engaging and immersive interactive environment.

Professor Kim Vincs and Dr John McCormick from TMT are working with leading researchers from Swinburne’s Centre for Design Innovation, Professor Jeni Paay (user experience) and Professor Rachael McDonald (disability and health care), and from Swinburne’s Centre for Mental Health, Associate Professor Jordy Kaufman (psychology).  Our collaboration also involves a large team of Scope PBS experts, led by Mark Di Marco (Manager, Positive Behaviour Support Services) and education specialists from PAVE, led by Debbie McLoughlin (Manager, Strategic Projects, Swinburne PAVE), to develop and validate the learning benefits of VR for PBS support. 

By developing, testing and validating a stand-alone VR system that can be embedded within PBS curricula in the workforce and in TAFE courses, we aim to deliver a ‘step-change’ in the design and delivery of training within the disability and other adjacent human services sectors through efficiency (cost, mobility and scale) and effectiveness (improved learner experience, improved and enduring knowledge and behavioural outcomes). Through improving the scale and quality of PBS training, we aim to reduce the incidence of occupational violence in the disability sector.

This study addresses an increasingly important question in the use of VR for workplace training. While VR and AR training systems are being developed in many industries and many organisations around the world on the basis of VR’s ability to immerse and engage, the educational benefits of these systems are not yet fully understood.

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 The Embodied Movement Design team has created a new VR anatomy teaching lab. Students from across the health science programs at Swinburne University of Technology will study in a bespoke immersive and interactive environment, launching later in 2020.  

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Swinburne University of Technology, 

Faculty of Health, Arts and Design

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Kim Vincs
Rachael McDonald (Swinburne CDI)
Adam Carr
Jordan Cook-Irwin
Stephen Jeal
Joshua Reason
Irene Gironacci

Teaching anatomy traditionally requires a physical dissection lab. In this project, the Centre for Transformative Media Technologies worked with Swinburne’s School of Health Sciences, and with the Faculty of Health, Arts and Design to design and build a complete VR anatomy dissection and teaching lab. The lab uses multi-player VR technology to allow students and teachers to interact in small and large groups, with state of the art 3D digital anatomy models within a fully interactive environment.

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Movement-based technologies such as augmented and virtual reality, haptic and robotic interfaces form the cutting edge of human computer interaction (HCI) development. This project has developed new infrastructure to create a national collaborative network of arts/technology researchers, enabling them to work together to optimise the quality of these systems from an embodied perspective, and to create new innovation possibilities for industry, commerce, education, health care and the arts. The network features real-time remote motion capture collaboration between facilities. 

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This research was funded by the Australian Government  through the Australian Research Council’s Linkage, Infrastructure and Equipment Scheme (Project LE170100066)





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Bruce Thomas (Uni SA)

Frank Vetere (Uni Melb)

Robert Vincs (Uni Melb)

Saeid Nahavandi (Deakin)

Douglas Creighton (Deakin)

Jordan Vincent (Deakin)

Petra Gemeinboeck (UNSW)

Keith Armstrong (QUT)

Thomas Chandler (Monash)

Scott deLahunta (Coventry, UK)

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This project, a partnership with Victorian Opera, explores the artistic and economic potential of 3D virtual scenography through three landmark productions, The Flying Dutchman, Four Saints in Three Acts and The Snow Queen. 

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This research was funded  by the Australian Government through the Australian Research Council’s Linkage Program (Project LP1400100742)

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Kim Vincs
Richard Mills

Digitally created virtual 3D scenography has the potential to create immersive stage environments that re-imagine and re-tool the artistic language of opera production for the 21st century, and to re-model the economics of live theatre production through reducing touring costs. 

In these productions, the performers are integrated within spectacular CG landscapes and characters, which the audience views using 3D glasses. These highly successful works delighted audiences and drew exceptional reviews, awards and nominations, including finalist in the non-game category of Unity’s international Unite awards for The Flying Dutchman.

The Flying Dutchman

This production, created in collaboration with Victorian Opera, explored the potential of 3D stereoscopic technology to provide unparalleled depth to the set and reduce the cost of building and transporting physical sets whilst touring, both vital to a sustainable and visually engaging opera industry.

Original 3D projected scenography, viewed using 3D glasses, was created in the Unity game engine. This enabled us to cue animations in real-time during the live performance, and provided a unique ability to move the camera perspective around the ‘world’ of the operain this case a Norwegian Fjord. This methodology provided a new visual dramaturgy for the opera, whereby audiences feel as if they are moving through the set, and experience a visceral sense of depth and presence. Without the need for a physical set, this research also contributed greater economic flexibility to this opera production, increasing its potential to reach regional and remote audiences.

The work was a critical success, demonstrating the power of 3D techniques to refresh the aesthetics of traditional operas such as The Flying Dutchman. The work was a finalist in the Unite (Unity game engine) awards, nominated for eight Green Room Awards (winning three), and nominated for one Helpmann Award. The Flying Dutchman was profiled by the Australian Research Council in their 2015 report as an exemplar of impact.

https://www.victorianopera.com.au/past-productions/the-flying-dutchman

Four Saints in Three Acts

This project, also created in collaboration with Linkage partner Victorian Opera, aimed to develop, implement, and validate the aesthetic opportunities afforded by 3D digital scenography as well as the capacity of virtual, projected sets to remodel the economics of theatre production, extending the artistic and cultural reach of traditional opera.

Building on the success of The Flying Dutchman, Four Saints in Three Acts involved creating 3D stereoscopic imagery using the Unity game engine to augment the surrealist librettos written by Gertrude Stein that form the basis of this opera. When viewed by an audience wearing 3D glasses, radical imagery appears: fish fly, stained glass windows shatter, and portals open to a cosmic space setting. These effects play upon the ambiguous nature of the libretto, whilst camera movements enabled by the game engine, such as orbital shots and sudden zooms, enhance the sense of disjuncture, non-sequitur and play.

The work was created in collaboration with well-known director and theatre-maker Nancy Black, and performed as part of the Victorian Opera’s season at the Merlyn Theatre, Coopers Malthouse in Melbourne. This project brought a little-known yet seminal modernist opera to life for Melbourne audiences, and, without the need for a built set, the production is able to tour at reduced cost. While the opera itself proved challenging to critics, the 3D scenography was an outstanding success and the work was nominated for a Green Room award and the CHASS non-traditional research output prize.

https://www.victorianopera.com.au/season/four-saints-in-three-acts

https://www.victorianopera.com.au/behind-the-scenes/reviews-four-saints-in-three-acts

 

The Snow Queen

The Snow Queen is the third opera created in collaboration with Victorian Opera as part of this ARC Linkage project, which aimed to design, test and evaluate the artistic and economic value of virtual scenography for touring performing arts companies, and enable opera companies to present large scale productions in previously inaccessible regional and rural areas.

The Snow Queen was specifically designed for regional touring, and premiered at Wodonga, in country Victoria in November 2017. The production simplified camera movement and 3D object placement to successfully accommodate a large on-stage community chorus. This regional staging demonstrated the capacity of 3D virtual scenography to reduce touring costs for opera. The project used Unreal Engine rather than Unity game engine as in the previous two operas. This enabled us to create more visually rich imagery in less time, hence reducing costs.

The work successfully developed and demonstrated technological and artistic compositional approaches that complemented the regional setting of this tour. This is particularly significant for companies such as Victorian Opera, which see regional touring as a critical aspect of their mission to bring new cultural experiences to audiences, and as a core element of their business and funding models.

https://www.victorianopera.com.au/season/the-snow-queen

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Eve of Dust is a collaborative performance and installation between a human and a robot. The artwork draws on both the possibilities and anxieties arising from the collaboration between humans and emerging intelligent systems personified in the robot. The artwork uses a Sawyer collaborative robot, an articulated 7-jointed robot arm that somewhat resembles a snake. The performance investigates the co-creative possibilites offered by collboration with non-human systems.

The work has two modes: performance mode and interactive mode. Performance mode is a collaborative duet between the robot and a professional dancer. Using a handheld VR controller to pick out points in space, the dancer is able to choreograph the robot’s movement in real time, in collaboration with the robot. The robot’s movements generate music in real time, with the rotation, position and motion of the robot determining pitch, rhythm, timbre etc. In this way, the dancer responds to and collaborates in both the robot’s movements and the generated music, creating a collaborative dance duet that is unique every performance.

In interactive mode, members of the public can play with the robot using a handheld VR controller to choreograph the robot’s movements which, as in performance mode, generates music in realtime. Inviting a playful interaction, people can collaborate with the robot to make a real time robot music and dance performance. People can respond to the robot movement and indeed will find it hard to remain passive in the unfolding duet that is unique to each person. Performed as part of Siggraph Asia 2018 at the Tokyo International Forum Japan. More information available at: http://www.wildsystem.net/eve_of_dust.html

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A child robot uses anartificial neural network and location data to recognise where it is and what it is seeing within the Melbourne CBD. Participants can wheel the child around and it will recite stories it creates based on its surrounds. Emerging intelligent systems are increasingly impactful on our lives. The research investigates shared creativity and empathy with non-human systems.

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Star Wars After Lucas: A Critical Guide to the Future of the Galaxy

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Focusing on The Force Awakens (2015), Rogue One (2016), The Last Jedi (2017), and the television series Rebels (2014–18), Dan Golding explores the significance of pop culture nostalgia in overcoming the skepticism, if not downright hostility, that greeted the Star Wars relaunch. In its granular textual readings, broad cultural scope, and insights into the complexities of the multimedia galaxy, this book is as entertaining as it is enlightening.

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A long time ago, in a galaxy far, far away—way back in the twenty-first century’s first decade—Star Wars seemed finished. Then in 2012 George Lucas shocked the entertainment world by selling the franchise, along with Lucasfilm, to Disney. This is the story of how, over the next five years, Star Wars went from near-certain extinction to what Wired magazine would call “the forever franchise,” with more films in the works than its first four decades had produced. Focusing on The Force Awakens (2015), Rogue One (2016), The Last Jedi (2017), and the television series Rebels (2014–18), Dan Golding explores the significance of pop culture nostalgia in overcoming the skepticism, if not downright hostility, that greeted the Star Wars relaunch. At the same time he shows how Disney, even as it tapped a backward-looking obsession, was nonetheless creating genuinely new and contemporary entries in the Star Wars universe.

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Child in the Wild is a work by Wild System (aka Adam Nash and John McCormick), see the work’s official website at wildsystem.net. Child in the Wild is an interactive installation that enables human participants and a child robot to co-create an immersive audiovisual artwork through the use of the robot’s artificial neural networks to enable object and image recognition. The resulting artwork dissolves the boundaries between computational and physical phenomena, dispalying an aesthetic that is a real hybrid of the physical and the digital, of human and machine learning, of natural and artificial intelligence, and of real and synthetic evolution.

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