The inside story of the booming video game industry from the late 1990s to the present, as told by the Managing Director of Ubisoft's Massive Entertainment (The Division, Far Cry 3, Assassin's Creed: Revelations). At Massive Entertainment, a Ubisoft studio, a key division of one of the largest, most influential companies in gaming, Managing Director Polfeldt has had a hand in some of the biggest video game franchises of today, from Assassin's Creed to Far Cry to Tom Clancy's The Division, the fastest-selling new series this generation which revitalized the Clancy brand in gaming. In THE DREAM ARCHITECTS, Polfeldt charts his course through a charmed, idiosyncratic career which began at the dawn of the Sony PlayStation and Microsoft Xbox era--from successfully pitching an Avatar game to James Cameron that will digitally create all of Pandora to enduring a week-long survivalist camp in the Scandinavian forest to better understand the post-apocalyptic future of The Division. Along the way, Polfeldt ruminates on how the video game industry has grown and changed, how and when games became art, and the medium's expanding artistic and storytelling potential. He shares what it's like to manage a creative process that has ballooned from a low-six-figure expense with a team of a half dozen people to a transatlantic production of five hundred employees on a single project with a production budget of over a hundred million dollars. The only firsthand account of its kind, THE DREAM ARCHITECTS is poised to be a seminal work about the creation of the biggest entertainment medium of today.
Speed, acceleration and rapid change characterize our world, and as we design and construct buildings that are to last at least a few decades and sometimes even centuries, how can architecture continue to act as an important cultural signifier? Focusing on how an important nineteenth-century architect addressed the already shifting relation between architecture, time and history, this book offers insights on issues still relevant today-the struggle between imitation and innovation, the definition (or rejection) of aesthetic experience, the grounds of architectural judgment (who decides and how), or fundamentally, how to act (i.e. build) when there is no longer a single grand narrative but a plurality of possible histories. Six drawings provide the foundation of an itinerary through Charles Robert Cockerell’s conception of architecture, and into the depths of drawings and buildings. Born in England in 1788, Cockerell sketched as a Grand Tourist, he charted architectural history as Royal Academy Professor, he drew to build, to exhibit, to understand the past and to learn from it, publishing his last work in 1860, three years before his death. Under our scrutiny, his drawings become thresholds into the nineteenth century, windows into the architect’s conception of architecture and time, complex documents of past and projected constructions, great examples that reveal a kinetic approach to ornamentation, and the depth of architectural representation.
From Memento and Insomnia to the Batman films, The Prestige, and Inception, lies play a central role in every Christopher Nolan film. Characters in the films constantly find themselves deceived by others and are often caught up in a vast web of deceit that transcends any individual lies. The formal structure of a typical Nolan film deceives spectators about the events that occur and the motivations of the characters. While Nolan's films do not abandon the idea of truth altogether, they show us how truth must emerge out of the lie if it is not to lead us entirely astray. The Fictional Christopher Nolan discovers in Nolan's films an exploration of the role that fiction plays in leading to truth. Through close readings of all the films through Inception, Todd McGowan demonstrates that the fiction or the lie comes before the truth, and this priority forces us to reassess our ways of thinking about the nature of truth. Indeed, McGowan argues that Nolan's films reveal the ethical and political importance of creating fictions and even of lying. While other filmmakers have tried to discover truth through the cinema, Nolan is the first filmmaker to devote himself entirely to the fictionality of the medium, and McGowan discloses how Nolan uses its tendency to deceive as the basis for a new kind of philosophical filmmaking. He shows how Nolan's insistence on the priority of the fiction aligns his films with Hegel's philosophy and understands Nolan as a thoroughly Hegelian filmmaker.
A philosophical look at the movie Inception and its brilliant metaphysical puzzles Is the top still spinning? Was it all a dream? In the world of Christopher Nolan's four-time Academy Award-winning movie, people can share one another's dreams and alter their beliefs and thoughts. Inception is a metaphysical heist film that raises more questions than it answers: Can we know what is real? Can you be held morally responsible for what you do in dreams? What is the nature of dreams, and what do they tell us about the boundaries of "self" and "other"? From Plato to Aristotle and from Descartes to Hume, Inception and Philosophy draws from important philosophical minds to shed new light on the movie's captivating themes, including the one that everyone talks about: did the top fall down (and does it even matter)? Explores the movie's key questions and themes, including how we can tell if we're dreaming or awake, how to make sense of a paradox, and whether or not inception is possible Gives new insights into the nature of free will, time, dreams, and the unconscious mind Discusses different interpretations of the film, and whether or not philosophy can help shed light on which is the "right one" Deepens your understanding of the movie's multi-layered plot and dream-infiltrating characters, including Dom Cobb, Arthur, Mal, Ariadne, Eames, Saito, and Yusuf An essential companion for every dedicated Inception fan, this book will enrich your experience of the Inception universe and its complex dreamscape.
The ‘Cloud’, hailed as a new digital commons, a utopia of collaborative expression and constant connection, actually constitutes a strategy of vitalist post-hegemonic power, which moves to dominate immanently and intensively, organizing our affective political involvements, instituting new modes of enclosure, and, crucially, colonizing the future through a new temporality of control. The virtual is often claimed as a realm of invention through which capitalism might be cracked, but it is precisely here that power now thrives. Cloud time, in service of security and profit, assumes all is knowable. We bear witness to the collapse of both past and future virtuals into a present dedicated to the exploitation of the spectres of both.
Author: Thorsten Botz-BornsteinPublish On: 2011-10-14
Ideas to Die For
Author: Thorsten Botz-Bornstein
Publisher: Open Court
You have to go deeper. Inception is more than just a nail-biting heist story, more than just one of the greatest movies of all time. The latest neuroscience and philosophy of mind tell us that shared dreams and the invasion of dreams may soon become reality. Inception and Philosophy: Ideas to Die For takes you through the labyrinth, onto the infinite staircase, exploring the movie’s hidden architecture, picking up its unexpected clues. How will Inception change your thinking? You can’t imagine. How will Inception and Philosophy change your life? You simply have no idea.
What we now call "the good life" first appeared in California during the 1930s. Motels, home trailers, drive-ins, barbecues, beach life and surfing, sports from polo and tennis and golf to mountain climbing and skiing, "sportswear" (a word coined at the time), and sun suits were all a part of the good life--perhaps California's most distinctive influence of the 1930s. In The Dream Endures, Kevin Starr shows how the good life prospered in California--in pursuits such as film, fiction, leisure, and architecture--and helped to define American culture and society then and for years to come. Starr previously chronicled how Californians absorbed the thousand natural shocks of the Great Depression--unemployment, strikes, Communist agitation, reactionary conspiracies--in Endangered Dreams, the fourth volume of his classic history of California. In The Dream Endures, Starr reveals the other side of the picture, examining the newly important places where the good life flourished, like Los Angeles (where Hollywood lived), Palm Springs (where Hollywood vacationed), San Diego (where the Navy went), the California Institute of Technology in Pasadena (where Einstein went and changed his view of the universe), and college towns like Berkeley. We read about the rich urban life of San Francisco and Los Angeles, and in newly important communities like Carmel and San Simeon, the home of William Randolph Hearst, where, each Thursday afternoon, automobiles packed with Hollywood celebrities would arrive from Southern California for the long weekend at Hearst Castle. The 1930s were the heyday of the Hollywood studios, and Starr brilliantly captures Hollywood films and the society that surrounded the studios. Starr offers an astute discussion of the European refugees who arrived in Hollywood during the period: prominent European film actors and artists and the creative refugees who were drawn to Hollywood and Southern California in these years--Igor Stravinsky, Arnold Schoenberg, Man Ray, Bertolt Brecht, Christopher Isherwood, Aldous Huxley, Thomas Mann, and Franz Werfel. Starr gives a fascinating account of how many of them attempted to recreate their European world in California and how others, like Samuel Goldwyn, provided stories and dreams for their adopted nation. Starr reserves his greatest attention and most memorable writing for San Francisco. For Starr, despite the city's beauty and commercial importance, San Francisco's most important achievement was the sense of well-being it conferred on its citizens. It was a city that "magically belonged to everyone." Whether discussing photographers like Edward Weston and Ansel Adams, "hard-boiled fiction" writers, or the new breed of female star--Marlene Dietrich, Jean Harlow, Bette Davis, Carole Lombard, and the improbable Mae West--The Dream Endures is a brilliant social and cultural history--in many ways the most far-reaching and important of Starr's California books.
Architects' Houses offers an insight into how contemporary architects live in the homes they have designed specifically for themselves and their family: from warehouses to apartments, from an entirely new build to a substantial renovation. In the absence of a 'client' and a formal brief, architects can be truly adventurous, exploring groundbreaking, unconventional ideas and materials in designing their own houses. In this lavishly photographed book, Crafti looks at the fascinating details of the process involved, as much as the end result. What were the challenges, the hardships and the problems faced? Did ideas have to be modified to suit the budget? Were there compromises along the way? What discoveries were made? Architects' Houses also explores the things that didn't quite go to plan. Their insights and journeys will appeal to those looking for fresh ideas that go beyond the traditional offerings by architects.
For Gwendolyn Wright, the houses of America are the diaries of the American people. They create a fascinating chronicle of the way we have lived, and a reflection of every political, economic, or social issue we have been concerned with. Why did plantation owners build uniform cabins for their slaves? Why were all the walls in nineteenth-century tenements painted white? Why did the parlor suddenly disappear from middle-class houses at the turn of the century? How did the federal highway system change the way millions of Americans raised their families? Building the Dream introduces the parade of people, policies, and ideologies that have shaped the course of our daily lives by shaping the rooms we have grown up in. In the row houses of colonial Philadelphia, the luxury apartments of New York City, the prefab houses of Levittown, and the public-housing towers of Chicago, Wright discovers revealing clues to our past and a new way of looking at such contemporary issues as integration, sustainable energy, the needs of the elderly, and how we define "family."
What if there were no objective facts, no objective truth, only our belief in them? What if our consciousness itself is an unconscious invention, constructed out of logic and language? In this thought-provoking volume, Lynn Segal describes how the ideas of Heinz von Foerster compel us to explore the question "Do we discover the world or do we invent it?". He suggests that we must first know how we think before we can claim knowledge of the world. While Constructivism may seem relevant only to those in the cognitive sciences, it is, in fact, highly relevant to everyone. Paradoxically, grasping the limits of our own understanding can free us to live more creative and meaningful personal and professional lives.