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My thesis explores the idea that Buckminster Fuller’s World Game is really a formal calculus capable of representing world-scale sustainability problem-solving according to the fundamental principles of a (blockchain) database + (Fuller projection) map + (machine learning) simulation in the form of a game. These computational media comprise an operational formalism which embraces all effective procedures for world-scale problem-solving. If this hypothesis is true, then that would mean World Game’s comprehensive use of the aforementioned fundamental principles are necessary for a sustainable Earth-scale civilization. Furthermore, the protocol for solution formation in the form of World Game “game” is sufficient for solving the problem of “making the world work for 100% of humanity in the shortest possible time through spontaneous cooperation without ecological offense or the disadvantage of anyone” — the objective of World Game. If this hypothesis of sufficiency is true, that means World Game’s principles are in effect synonymous with the process of making the world work. In plain English, a problem-solving engine like World Game is necessary for the survival of humanity, period.
An examination of emerging forms of knowledge creation using Web-based technologies, analyzed from an interdisciplinary perspective.
When media translate the world to the world: twentieth-century utopian projects including Edward Steichen's “Family of Man,” Jacques Cousteau's underwater films, and Buckminster Fuller's geoscope. Postwar artists and architects have used photography, film, and other media to imagine and record the world as a wonder of collaborative entanglement—to translate the world for the world. In this book, Janine Marchessault examines a series of utopian media events that opened up and expanded the cosmos, creating ecstatic collective experiences for spectators and participants. Marchessault shows that Edward Steichen’s 1955 “Family of Man” photography exhibition, for example, and Jacques Cousteau’s 1956 underwater film Le monde du silence (The Silent World) both gave viewers a sense of the earth as a shared ecology. The Festival of Britain (1951)—in particular its Telekinema (a combination of 3D film and television) and its Live Architecture exhibition—along with Expo 67’s cinema experiments and media city created an awareness of multiple worlds. Toronto’s alternative microcinema CineCycle, Agnès Varda’s 2000 film Les glaneurs et la glaneuse, and Buckminster Fuller’s World Game (geoscope), representing ecologies of images and resources, encouraged planetary thinking. The transspecies communication platform the Dolphin Embassy, devised by the Ant Farm architecture collaborative, extends this planetary perspective toward other species; and Finnish artist Erkki Kurenniemi’s “Death of the Planet” projects a postanthropocentric future. Drawing on sources that range from the Scottish town planner Patrick Geddes to the French phenomenologist Maurice Merleau-Ponty, Marchessault argues that each of these media experiments represents an engagement with connectivity and collectivity through media that will help us imagine a new form of global humanism.
The book is dedicated to a compilation of diverse and creative landscapes which occur in games. Being part of a game setting, these landscapes trigger social construction processes in specific ways. A selection of twenty-four research articles addresses the social constructions of landscapes represented in analogue, digital and hybrid game formats as well as their theoretical framing and future perspectives.
In Gaming Utopia: Ludic Worlds in Art, Design, and Media, Claudia Costa Pederson analyzes modernist avant-garde and contemporary video games to challenge the idea that gaming is an exclusively white, heterosexual, male, corporatized leisure activity and reenvisions it as a catalyst for social change. By looking at over fifty projects that together span a century and the world, Pederson explores the capacity for sociopolitical commentary in virtual and digital realms and highlights contributions to the history of gaming by women, queer, and transnational artists. The result is a critical tool for understanding video games as imaginative forms of living that offer alternatives to our current reality. With an interdisciplinary approach, Gaming Utopia emphasizes how game design, creation, and play can become political forms of social protest and examines the ways that games as art open doors to a more just and peaceful world.
This book uncovers a holistic sensibility in post-World War II American culture that challenged Cold War logic and fed some of the century's most powerful social movements. This impulse is illustrated by focusing on Rachel Carson, Buckminster Fuller, Martin Luther King Jr., Abraham Maslow, Pierre Teilhard de Chardin, and the Esalen Institute.
“Toward a Ludic Architecture†is a pioneering publication, architecturally framing play and games as human practices in and of space. Filling the gap in literature, Steffen P. Walz considers game design theory and practice alongside architectural theory and practice, asking: how are play and games architected? What kind of architecture do they produce and in what way does architecture program play and games? What kind of architecture could be produced by playing and gameplaying?
Driven by the Foucauldian attitude of subsuming architectural history into a genealogy of techne, Architectures of Life and Death advances a transdisciplinary approach rethinking subjectivity and exploring the political ramifications of these processes for the discipline of architecture and beyond. In contrast to mainstream approaches, architecture will not be seen as representative of culture, but as the mechanism of culture, the ‘collective equipment’ that rests on the reciprocal determination of social habits and technological habitats. In this sense, the idea that we shape our environments, therefore they shape us, is not to be taken as a metaphor. The animate has always been utterly dependent on the inanimate. A livable habitat is one which the inhabitant actively co-evolves with and which does not constitute a ready-made condition to which the inhabitant would simply have to passively adapt.