science fiction Archives - Matthew E. Gladden: Research and Publications

Posts tagged "science fiction"

Utopian Confederation: Conspectus

Volume 01 in the Utopian Confederation Sourcebook series • ISBN 978-1-944373-83-2 • Mnemoclave, 2020 • 62 pages

SUMMARY: This book offers an introduction to the Utopian Confederation RPG series and the peaceful, prosperous, and high-tech future society that provides the setting for its adventures. In this world, the island-republic of Utopia isn’t an imaginary land; it’s a diplomatic, economic, techno-logical, and cultural trailblazer that has succeeded in unifying the world’s nations under a ban-ner of peaceful collaboration – thanks largely to the Utopian mindset that combines a strong rationality and pursuit of scientific knowledge with a social and political philosophy that’s grounded in a deep spirituality and theological sensitivity.

Phenomenology of the Gameworld (front cover)

ISBN 978-1-944373-74-0 • Defragmenter Media, 2019 • 362 pages

Good video games transport us to incredible new worlds. We don’t just enter such unforgettable “gameworlds” when we play first-person RPGs with high-resolution graphics; even relatively simple 2D puzzle or strategy games with retro visuals can immerse players in worlds that are beautiful, terrifying, mysterious, or moving, that are brutally realistic or delightfully whimsical.

The process by which a particular gameworld emerges is a symbiosis between developer and player: the game system presents a carefully architected stream of polygons and pixels, which somehow leads the player’s mind to construct and explore an intricate world full of places, people, relationships, dilemmas, and quests that transcend what’s actually appearing onscreen.

This book is meant for developers who want to create games that will evoke richer and more memorable gameworlds in the minds of their players. Drawing on insights from ontology and philosophical aesthetics, it provides you with conceptual frameworks and concrete tools that will enhance your ability to design games whose iconic gameworlds encourage the types of gameplay experiences you want to offer your players.

Once you’ve undertaken this philosophical and artistic journey, you’ll never look at your games – or their gameworlds – in quite the same way again.

Twarde światło i architektura kosmiczna: Analiza fenomenologiczno-estetyczna filmu Tron jako wzorca paradygmatu ‘Siatki Cyberprzestrzennej’ (M. Gladden, 2019)

In Rejestry Kultury (Perspektywy Ponowoczesności, vol. 9), edited by Ksenia Olkusz, pp. 481-501 • Wrocław: Facta Ficta Research Centre, 2019

ABSTRACT: W niniejszym rozdziale przedstawiona zostanie fenomenologiczno-estetyczna analiza sposobu, w jaki użycie namacalnego, „ucieleśnionego” światła jako budulca architektonicznego w filmie Disneya Tron z 1982 roku przyczyniło się do założenia paradygmatu konstrukcji i wizualizacji immersyjnych światów elektronicznych. Paradygmat ten (Siatka Cyberprzestrzenna) pozostaje aktualny w dzisiejszej erze rosnącej popularności technologii rzeczywistości wirtualnej. Analiza obejmuje dwie części. Po pierwsze, rozważane będzie użycie „twardego światła” jako elementu architektonicznego w świecie elektronicznym, przedstawionym w filmie Tron. Druga część analizy obejmie sposób, w jaki użycie twardego światła w Tronie przyczyniło się do stworzenia jednego z podstawowych paradygmatów albo metafor konstruowania cyberprzestrzeni i wizualizacji środowisk wirtualnych, to jest, paradygmatu Siatki Cyberprzestrzennej.

International Journal of Research Studies in Management (2019)

ABSTRACT: The growing use of advanced AI, ambient intelligence, augmented reality (AR), and virtual reality (VR) technologies of the sort found within the emerging cyber-physical smart workplace has been described as enabling new forms of human-computer interaction (HCI) that are “magical” in nature. This study shows that from an anthropological perspective, such a workplace environment can indeed be understood as “magical”; however, that “magicality” is a double-edged sword that can potentially both enhance and damage user experience (UX) for workers and other occupants of such environments. First, by analyzing existing social anthropological and philosophical anthropological accounts of magic, typical elements of magical practice are identified. Using Nielsen’s empirical analysis of HCI usability heuristics as a basis, a prospective heuristic evaluation is then carried out for the usability of a generic “magical” environment, in order to identify elements of magical practice that might be expected to enhance or impair user experience when they are required for interaction with the environment. A more specific heuristic usability evaluation is then performed for the “magical” aspects of HCI created by two kinds of constituent technologies that are typical for a cyber-physical smart workplace: those of (a) ambient intelligence and IoT-enabled systems and (b) AR and VR systems. It is shown that the magical aspects of HCI within the emerging cyber-physical smart workplace differ significantly in their potential UX impacts from the magicality involved with earlier forms of computing, and the implications of this fact for the management of future workplaces are identified and discussed.

ISBN 978-1-944373-30-6 • Defragmenter Media, 2019 • 322 pages

The image of the “megacorp” – the ruthless, sinister, high-tech global conglomerate that’s grown so large and powerful that it has acquired the characteristics of a sovereign state – is one of the iconic elements of cyberpunk fiction. Such a megacorp maintains its own army, creates its own laws and currency, grants citizenship to employees and customers, and governs vast swaths of cyberspace and the physical world. If it allows traditional governments to survive in some vestigial form, it’s only so they can handle those mundane tasks that the megacorp doesn’t want to deal with itself. By these standards, contemporary companies like Amazon, Apple, Facebook, Google, Microsoft, ExxonMobil, and Walmart aren’t (yet) “megacorps”; they’re the playthings that megacorps gobble up to use for spare parts.

This volume develops a comprehensive intellectual history of the megacorp. It locates forebears of the cyberpunk megacorp not only in earlier fictional works like Čapek’s R.U.R. (1921) and Von Harbou’s Metropolis (1925) but in a string of real-world organizations ranging from the 17th-Century British and Dutch East India Companies to the Pullman Palace Car Company, the Ford Motor Company, and late 20th-Century Japanese keiretsu and South Korean chaebol – as well as in the nearly indestructible oligopolistic “megacorp” described in the pioneering theory of American economist Alfred Eichner.

By investigating the nature of the cyberpunk megacorp as a political entity, commercial entity, producer and exploiter of futuristic technologies, and generator or manipulator of culture, differences are highlighted between the megacorps of “classical” cyberpunk and post-cyberpunk fiction. Classical cyberpunk megacorps – portrayed in novels like Gibson’s Sprawl trilogy, films like RoboCop and Johnny Mnemonic, and games like Cyberpunk, Cyberspace, and Syndicate – are often ostentatiously malevolent and obsessed with short-term financial profits to the exclusion of all else; the over-the-top depictions of such companies serve a dramatic purpose and are not offered by their authors as serious futurological studies. On the other hand, the more nuanced and philosophically rich portrayals of megacorps in post-cyberpunk works like Shirow’s manga The Ghost in the Shell reveal companies that are less overtly evil, possess a broader and more plausible range of long-term strategic goals, and coexist alongside conventional governments in a state of (begrudging) mutual respect. Yet other works like the game Shadowrun depict companies that combine elements of both classical cyberpunk and post-cyberpunk megacorps.

Drawing on such analyses, the volume concludes by exploring how the idea of the post-cyberpunk megacorp anticipated a new type of real-world megacorp – the unfathomably large, fast, and complex “rhizocorp” – that’s now being made possible through ongoing revolutions in the exploitation of robotics, AI, and the Internet of Things – and which threatens to become the dominant economic, political, and sociocultural power of our technologically posthumanized future world.

Toward Society 5.0: The Dynamics of Posthumanization

Social Sciences 8, no. 5 (2019)

ABSTRACT: The Japanese Government’s “Society 5.0” initiative aims to create a cyber-physical society in which (among other things) citizens’ daily lives will be enhanced through increasingly close collaboration with artificially intelligent systems. However, an apparent paradox lies at the heart of efforts to create a more “human-centered” society in which human beings will live alongside a proliferating array of increasingly autonomous social robots and embodied AI. This study seeks to investigate the presumed human-centeredness of Society 5.0 by comparing its makeup with that of earlier societies. By distinguishing “technological” and “non-technological” processes of posthumanization and applying a phenomenological anthropological model, the study demonstrates: (1) how the diverse types of human and non-human members expected to participate in Society 5.0 differ qualitatively from one another; (2) how the dynamics that will shape the membership of Society 5.0 can be conceptualized; and (3) how the anticipated membership of Society 5.0 differs from that of Societies 1.0 through 4.0. The study describes six categories of prospective human and non-human members of Society 5.0 and shows that all six have analogues in earlier societies – which suggests that social scientific analysis of past societies may shed unexpected light on the nature of Society 5.0.

Multimodal Technologies and Interaction 2, no. 4 (2018)

ABSTRACT: In some circumstances, immersion in virtual environments with the aid of virtual reality (VR) equipment can create feelings of anxiety in users and be experienced as something “frightening”, “oppressive”, “alienating”, “dehumanizing”, or “dystopian”. Sometimes (e.g., in exposure therapy or VR gaming), a virtual environment is intended to have such psychological impacts on users; however, such effects can also arise unintentionally due to the environment’s poor architectural design. Designers of virtual environments may employ user-centered design (UCD) to incrementally improve a design and generate a user experience more closely resembling the type desired; however, UCD can yield suboptimal results if an initial design relied on an inappropriate architectural approach. This study developed a framework that can facilitate the purposeful selection of the most appropriate architectural approach by drawing on Norberg-Schulz’s established phenomenological account of real-world architectural modes. By considering the unique possibilities for structuring and experiencing space within virtual environments and reinterpreting Norberg-Schulz’s schemas in the context of virtual environment design, a novel framework was formulated that explicates six fundamental “architectural paradigms” available to designers of virtual environments. It was shown that the application of this framework could easily be incorporated as an additional step within the UCD process.

Ogólnopolska konferencja naukowa ‘Wszechświat Disneya’ • Instytut Filologii Polskiej Wydziału Filologicznego Uniwersytetu Pedagogicznego and the Facta Ficta Research Centre, Kraków • December 9, 2017

ABSTRACT: W niniejszej prezentacji przedstawione jest zastosowanie podejścia fenomenologicznego w celu przestudiowania dwóch zagadnień podnoszonych przez praktyki architektoniczne obrazowane w filmach Tron (1982) i Tron: Legacy (2010). Po pierwsze, rozważamy użycie światła ucieleśnionego jako składnika budowlanego w obrazowanym w tych filmach ‘świecie elektronicznym’ (lub ‘drugim wszeczświecie’). Ludzki programista i programy komputerowe przedstawieni jako główni architekci świata elektronicznego stosują światło ucieleśnione jako kluczowy element fizyczny budynków, mostów, dróg, pojazdów, ubrań i innych przedmiotów, albo stwarzając, albo nakreślając namacalne kształty wśród ciemności poza tym niezróżnicowanej. Światło wykorzystowane jest n.p. do stworzenia platform, na których mogą stać postacie, oraz pionowych murów, które stoją na przeszkodzie innym fizycznym przedmiotom ‘zderzającym się’ z nimi. Porównujemy ten fenomen z historycznym w świecie rzeczywistym użyciem światła jako elementu architektonicznego o roli ozdobnej, przedstawiającej, dydaktycznej i funkcjonalnej oraz, w szczególności, z użyciem oświetlenia, aby symulować istnienie dużych fizycznych konstrukcji architektonicznych, które w rzeczywistości nie istnieją. Architektoniczne zastosowanie światła ucieleśnionego inspiruje pytania estetyczne i ontologiczne, które można badać przy pomocy podejścia fenomenologicznego.

Po drugie, badamy sposób, w jaki architektura w świecie elektronicznym omawianych filmów przedstawiona jest jako coś współprojektowanego przez istoty ludzkie i sztucznie inteligentne programy komputerowe przeznaczone do tej roli. W omawianych filmach, ludzki programista wybrał ogólne jakości estetyczne, które mają się przejawiać w architekturze świata elektronicznego i powierzył programom AI rolę przełożenia tych celów na konkretne konstrukcje architektoniczne, automatyzując w ten sposób proces budowania świata spełniającego dane parametry estetyczne. Tron: Legacy prezentuje szczegółowe debaty między ludzkim a AI współarchitektem dotyczące zalet wyboru jakości estetycznych takich, jak swoboda, otwartość, piękno, porządek, doskonalność, skuteczność funkcjonalna, regularność, przewidywalność i chaotyczność, jako cele i parametry dla architektury systemu. Film argumentuje za tym, że dla wspieranego przez AI architektonicznego projektowania parametrycznego wybór jakości estetycznych, które same w sobie wydają się pożądane, może jednakże powodować powstanie struktur z nieprzewidzianymi i bardzo niepożądanymi właściwościami. Wspierany przez sztuczną inteligencję proces architektoniczny, do którego już robił aluzję Tron i który wyraźniej poznany został w Tron: Legacy, może być więc interpretowany (chociaż niezamierzenie) przepowiednia i krytyka współczesnych technik projektowania generatywnego i parametrycznego oraz szczególnego ruchu Parametryzmu.

Volume 02 in the Posthuman Cyberware Sourcebook series • ISBN 978-1-944373-20-7 • Mnemoclave, 2017 • 36 pages

SUMMARY: Whether it’s adding a night-vision cybereye or acquiring a full cyborg body, the process of cyborgization reshapes the way in which an individual relates to the physical environment around her. But how does it transform her ability to dive – or to be pulled – into virtual worlds?

Cyborgization and Virtual Worlds: Portals to Altered Reality is a resource for designing campaigns grounded in near-future hard-SF settings in which synthetic bodies and VR cyberware offer characters entirely new ways of perceiving, interpreting, and manipulating the analog and digital worlds…

Volume 01 in the Posthuman Cyberware Sourcebook series • ISBN 978-1-944373-18-4. Indianapolis: Mnemoclave, 2017 • 40 pages

SUMMARY: What realities lie behind the glimmering advertisements for designer cyberlimbs, combat neuroaugmentations, prosthetic eyes with squalor-suppression filters, and downloadable charisma?

Posthuman Cyberware: Blurring the Boundaries of Mind, Body, and Computer is a resource for designing campaigns set in near-future hard-SF worlds where sensory, cognitive, and motor neuroprostheses are being increasingly employed for human enhancement – and society is tilting ever further toward the dystopian.

His Master’s Voice 4th Annual Symposium: Utopias, Dystopias, and Ecotopias • Facta Ficta Research Centre, Kraków • March 25, 2017

ABSTRACT: Creators of cyberpunk science fiction envision a near future in which technological, political, and economic change yield a powerful new type of organization: the megacorporation or ‘megacorp,’ which is frequently depicted as contributing to (and exploiting) the dystopian nature of its society. By analyzing such fictional works, we formulate a definition of the ‘megacorp’ along with two conceptual frameworks: (1) a model of the megacorp as cyber-physical organism; and (2) a typology that reveals the ways in which different kinds of megacorps generate dystopian or (limited) utopian dynamics within their cyber-physical ecosystems. In developing the first framework, concepts from artificial life and management cybernetics are employed to argue that some megacorps are presented as incorporating artificial agency into their organizational architecture in such ways that they do not simply act ‘like’ living organisms but indeed constitute massive synthetic life-forms that inhabit the globalized digital-physical ecosystems of the near future. In developing the second framework, it is noted that contemporary corporations typically pursue a narrow range of strategies for achieving financial profitability so they can purchase resources needed to adapt and grow. However, we contend that – as depicted in cyberpunk science fiction – dystopian megacorps have available to them a broader range of non-financial strategies that they exploit to subdue competitors and obtain the resources needed to survive, evolve, and grow.

Such strategies may employ approaches that are legal and political (e.g., extraterritoriality; corporate courts; corporate citizenship; EULAs; ownership of individuals’ genetic code, cybernetic augmentations, and output); paramilitary (deployment of private military, police, and security forces; cyberwarfare); geospatial (construction of facilities isolated in fortified, orbital, or undersea arcologies; use of ubiquitous sensors and effectors to convert the entire Internet of Things into a corporate facility; virtualization and nonlocalization of organizational architecture; construction of new digital-physical ecosystems to dominate); biological (engineering of biomedical dependencies among employees and consumers; creation of ‘walled-garden’ commercial ecosystems requiring genetic modification for entry); psychological and sociocultural (direct neurocybernetic access to a population’s sensory, cognitive, and motor activity; cultural engineering; memetic warfare); or technological and informatic (monopolization of core global ICT infrastructure; ‘megascale’ data mining, computational simulation, and prediction; automated decision-making by AI; workforce roboticization and cyborgization). Three ‘views’ for analyzing competitive strategies of a megacorp are presented, each of which utilizes two dimensions to distinguish four types of megacorps according to their interactions with their ecosystem and resulting generation of dystopian or utopian dynamics.

The framework is then applied to numerous megacorps described in cyberpunk RPGs, including Arasaka and WorldSat (from Cyberpunk 2020); Evo, NeoNET, Proteus, Renraku, Saeder-Krupp, and Shiawase (from Shadowrun); Belltower Associates, the Picus Group, Tai Yong Medical, and VersaLife (from Deus Ex); Anubis, Augustus, and Imperial (from Ex Machina); and Golden Promise (from Interface Zero).

It is hoped that such frameworks can facilitate efforts to: (1) analyze the roles that creators of cyberpunk science fiction envision for megacorps in their worlds’ ecosystems; (2) explicate how megacorps’ competitive strategies contribute to the dystopian nature of their societies; (3) anticipate new competitive strategies that may emerge if our world’s actual business ecosystems evolve to resemble those presented in cyberpunk fiction; and (4) recognize any real-world corporations that begin to acquire characteristics of (dystopian) megacorps.

Fronda Lux 79 (2016), pp. 32-43

Fronda Lux 78 (2016), pp. 10-21

SUMMARY: This text envisions two different “employee onboarding documents” provided to new workers joining a global conglomerate in the year 2050. One neuroprosthetically augmented and genetically enhanced worker – who joins the company as a Reality Designer – is granted a drastically different welcome from the other worker, an unmodified human being, who joins the company as a Biological Service Drone. A variety of scholars have formulated two radically divergent conceptions of the future of human work: one vision imagines that the development of advanced artificial intelligence, nanorobotics, and other technologies will create a utopian society in which human beings are freed from the drudgery menial labor to focus on art, leisure, and self-fulfillment; the other vision imagines that such technologies will result in the wholesale oppression, instrumentalization, and disintegration of human beings. This text highlights the fact that these two extreme visions of the future are not necessarily incompatible – and might even be reflected within the activities of a single company.

50 Shades of Popular Culture International Conference • Facta Ficta Research Centre, Kraków • February 19, 2016

ABSTRACT: Here we argue that five emerging social and technological trends are creating new possibilities for the instrumentalization (or even “weaponization”) of popular culture for commercial, ideological, political, or military ends and for the development of a posthuman popular culture that is no longer solely produced by or for “humanity” as presently understood. These five trends are the: 1) decentralization of the sources of popular culture, as reflected in the ability of ordinary users to create and upload content that “goes viral” within popular culture, as well as the use of “astroturfing” and paid “troll armies” by corporate or state actors to create the appearance of broad-based grassroots support for particular products, services, actions, or ideologies; 2) centralization of the mechanisms for accessing popular culture, as seen in the role of instruments like Google’s search engine, YouTube, Facebook, Instagram, and Wikipedia in concentrating the distribution channels for cultural products, as well as efforts by state actors to censor social media content perceived as threatening or disruptive; 3) personalization of popular culture, as manifested in the growth of cultural products like computer games that dynamically reconfigure themselves in response to a player’s behavior, thereby creating a different product for each individual that is adapted to a user’s unique experiences, desires, and psychological characteristics; 4) automatization of the creation of products of popular culture, as seen in the automated high-speed generation of webpages, artwork, music, memes, and computer game content by AI systems that could potentially allow venues of popular culture (such as the Internet) to be flooded with content designed to influence a social group in particular ways; and 5) virtualization of the technological systems and mechanisms for creating, transmitting, and experiencing the products of popular culture, as witnessed in the development of all-purpose nodes (such as smartphones) that are capable of handling a full range of cultural products in the form of still images, video, audio, text, and interactive experiences, and the growing digitalization of cultural products that allows them to be more easily manipulated and injected into the popular culture of other states or social groups, bypassing physical and political barriers.

While these trends are expected to yield a broad range of positive and negative impacts, we focus on a particular subset of these impacts. Namely, we argue that the convergence of these five trends opens the door for the creation of popular culture that: 1) does not exist in any permanent, tangible physical artifacts but only as a collection of continuously transforming digital data that that is stored on the servers of a few powerful corporate or state actors and is subject to manipulation or degradation as a result of computer viruses, hacking, power outages, or other factors; 2) can be purposefully and effectively engineered using techniques commonly employed within IT management, electronics engineering, marketing, and other disciplines; 3) can become a new kind of weapon and battleground in struggles for military, political, ideological, and commercial superiority on the part of corporate, state, and other actors.

In order to stimulate thinking about ways in which these trends might develop, we conclude by considering two fictional near-future worlds – those depicted in Ghost in the Shell: Stand Alone Complex and Transhuman Space: Toxic Memes – in which the further evolution of these five trends is shown as leading to the neurocybernetically facilitated manipulation of popular culture, “memetic warfare,” and related phenomena. We suggest that these fictional works represent examples of self-reflexive futurology: i.e., elements of contemporary popular culture that attempt to anticipate and explore the ways in which future popular culture could be purposefully engineered, instrumentalized, and even weaponized in the service of a diverse array of ends.

Creatio Fantastica no. 3(50) (2015)

ABSTRACT: While it is possible to understand utopias and dystopias as particular kinds of sociopolitical systems, in this text we argue that utopias and dystopias can also be understood as particular kinds of information systems in which data is received, stored, generated, processed, and transmitted by the minds of human beings that constitute the system’s ‘nodes’ and which are connected according to specific network topologies. We begin by formulating a model of cybernetic information-processing properties that characterize utopias and dystopias. It is then shown that the growing use of neuroprosthetic technologies for human enhancement is expected to radically reshape the ways in which human minds access, manipulate, and share information with one another; for example, such technologies may give rise to posthuman ‘neuropolities’ in which human minds can interact with their environment using new sensorimotor capacities, dwell within shared virtual cyberworlds, and link with one another to form new kinds of social organizations , including hive minds that utilize communal memory and decision-making. Drawing on our model, we argue that the dynamics of such neuropolities will allow (or perhaps even impel) the creation of new kinds of utopias and dystopias that were previously impossible to realize. Finally, we suggest that it is important that humanity begin thoughtfully exploring the ethical, social, and political implications of realizing such technologically enabled societies by studying neuropolities in a place where they have already been ‘pre-engineered’ and provisionally exist: in works of audiovisual science fiction such as films, television series, and role-playing games.

Cybershells, Shapeshifting, and Neuroprosthetics

Keynote lecture at the Ogólnopolska Konferencja Naukowa “Dyskursy Gier Wideo” • Facta Ficta Research Centre, Kraków • June 6, 2015

‘Upgrading’ the Human Entity: Cyberization as a Path to Posthuman Utopia or Digital Annihilation?

Lecture in the Arkana Fantastyki series • Uniwersytet Śląski / Centrum Informacji Naukowej i Biblioteka Akademicka (CINiBA), Katowice • May 27, 2015

His Master’s Voice: Utopias and Dystopias in Audiovisual Culture • Facta Ficta Research Centre, Kraków • March 24, 2015

In Sociable Robots and the Future of Social Relations: Proceedings of Robo-Philosophy 2014, edited by Johanna Seibt, Raul Hakli, and Marco Nørskov, pp. 329-39 • Frontiers in Artificial Intelligence and Applications 273 • IOS Press, 2014

ABSTRACT: Much has been written about the possibility of human trust in robots. In this article we consider a more specific relationship: that of a human follower’s obedience to a social robot who leads through the exercise of referent power and what Weber described as ‘charismatic authority.’ By studying robotic design efforts and literary depictions of robots, we suggest that human beings are striving to create charismatic robot leaders that will either (1) inspire us through their display of superior morality; (2) enthrall us through their possession of superhuman knowledge; or (3) seduce us with their romantic allure. Rejecting a contractarian-individualist approach which presumes that human beings will be able to consciously ‘choose’ particular robot leaders, we build on the phenomenological-social approach to trust in robots to argue that charismatic robot leaders will emerge naturally from our world’s social fabric, without any rational decision on our part. Finally, we argue that the stability of these leader-follower relations will hinge on a fundamental, unresolved question of robotic intelligence: is it possible for synthetic intelligences to exist that are morally, intellectually, and emotionally sophisticated enough to exercise charismatic authority over human beings—but not so sophisticated that they lose the desire to do so?

Tag: science fiction

Utopian Confederation: Conspectus

Phenomenology of the Gameworld: A Philosophical Toolbox for Video Game Developers

Twarde światło i architektura kosmiczna: Analiza fenomenologiczno-estetyczna filmu Tron jako wzorca paradygmatu ‘Siatki Cyberprzestrzennej’

A Phenomenological Framework of Architectural Paradigms for the User-Centered Design of Virtual Environments

Światło ucieleśnione i zaciemniający parametryzm: Analiza fenomenologiczno-estetyczna praktyki architektonicznej w ‘świecie elektronicznym’

Cyborgization and Virtual Worlds: Portals to Altered Reality

Posthuman Cyberware: Blurring the Boundaries of Mind, Body, and Computer

The Dystopian Megacorp: Non-Financial Strategies for Domination in Near-Future Cyber-Physical Ecosystems

Gryfikacja Istnienia

Onboarding Pracowników: Witamy w Metaphorescence HDI

From Stand Alone Complexes to Memetic Warfare: Cultural Cybernetics and the Engineering of Posthuman Popular Culture

Utopias and Dystopias as Cybernetic Information Systems: Envisioning the Posthuman Neuropolity

Cybershells, Shapeshifting, and Neuroprosthetics: Video Games as Tools for Posthuman ‘Body Schema (Re)Engineering’

‘Upgrading’ the Human Entity: Cyberization as a Path to Posthuman Utopia or Digital Annihilation?

Tachikomatic Domains: Utopian Cyberspace as a ‘Contingent Heaven’ for Humans, Robots, and Hybrid Intelligences

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