73 research outputs found
Crogan, Timothy Patrick, [No Service Number]
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/379670Surname: CROGAN
Given Name(s) or Initials: TIMOTHY PATRICK
Military Service Number or Last Known Location: No Service Number
Missing, Wounded and Prisoner of War Enquiry Card Index Number: 29188193482
Item: [2016.0049.11963] "Crogan, Timothy Patrick, [No Service Number]
Scan
No full textPatrick Crogan & John Pottshttp://scan.net.au/scan/journal/display_synopsis.php?j_id=
Cultural Politics vol 6., no. 2 (July 2010): Special Issue on Bernard Stiegler
No full textThis special issue of Cultural Politics journal was guest edited by Patrick Crogan, who contributed also the introductory essay and an interview with Bernard Stiegler
Knowledge, care and trans-individuation: An interview with Bernard Stiegler
No full textAn Interview with French philosopher of technology and activist, Bernard Stiegler. The interview was conducted in November 2008 in Paris. It appears in the special issue on Stiegler in the journal Cultural Politics (6:2, July 2010), guest edited by Patrick Crogan. Stiegler discusses culture, politics and his current projects including the book series, Prendre Soin. The interview was translated for the journal by Chris Turner
Games and Culture: A Journal of Interactive Media, vol 4., no. 2 (April 2009), Special Section on games and technology
No full textThis special section, co-edited by Patrick Crogan and Helen Kennedy, comprised the majority of this issue of Games and Culture and was derived from a UWE Play Research Group one day symposium held in September 2006
The automation of Everyday Life
No full textEste texto recoge la conferencia The Automation of Everyday Life impartida por el Dr. Patrick Crogan (University of West England, Bristol) el 5 de Febrero de 2016 en el marco de las Jornadas de comunicación y cultura digital: Investigaciones emergentes de la Universitat Jaume I. Dichas jornadas fueron organizadas por la dirección del Programa de Doctorado en Ciencias de la Comunicación y del Máster Universitario en Nuevas Tendencias y Procesos de Innovación en Comunicación con el apoyo del Departamento de Ciencias de la Comunicación de la Universitat Jaume I y la Asociación Española de Investigación en Comunicación (AEIC).This text is the translation of the conference The automation of Everyday Life, imparted by Dr. Patrick Crogan (University of West England, Bristol), the 5th of February of 2016 on the Meetings about communitacion and digital culture: Emerging research of the Universitat Jaume I. The meetings were organized by the direction of the Doctoral Program in Communication and the Master in New trends and processes in Communciation, and under the support of the Department of the Communication Sciences of the Universitat Jaume I and the Spanish Association of Researching in Communication (AEIC)
Gameplay Mode: War, Simulation, and Technoculture
No full textFrom flight simulators and first-person shooters to MMPOG and innovative strategy games like 2008's Spore, computer games owe their development to computer simulation and imaging produced by and for the military during the Cold War. To understand their place in contemporary culture, Patrick Crogan argues, we must first understand the military logics that created and continue to inform them. Gameplay Mode situates computer games and gaming within the contemporary technocultural moment, connecting them to developments in the conceptualization of pure war since the Second World War and the evolution of simulation as both a technological achievement and a sociopolitical tool.Crogan begins by locating the origins of computer games in the development of cybernetic weapons systems in the 1940s, the U.S. Air Force's attempt to use computer simulation to protect the country against nuclear attack, and the U.S. military's development of the SIMNET simulated battlefield network in the late 1980s. He then examines specific game modes and genres in detail, from the creation of virtual space in fight simulation games and the co-option of narrative forms in gameplay to the continuities between online gaming sociality and real-world communities and the potential of experimental or artgame projects like September 12th: A Toy World and Painstation, to critique conventional computer games.Drawing on critical theoretical perspectives on computer-based technoculture, Crogan reveals the profound extent to which today's computer games--and the wider culture they increasingly influence--are informed by the technoscientific program they inherited from the military-industrial complex. But, Crogan concludes, games can play with, as well as play out, their underlying logic, offering the potential for computer gaming to anticipate a different, more peaceful and hopeful future.Patrick Croganhttp://trove.nla.gov.au/work/151589148?q=9780816653355&c=book&versionId=16524708
Pigs, eels and insects: Re-assessing the legacy of Shohei Imamura. 15 October - 8 November 2009.
No full textThis retrospective festival took place in October and November, 2009 at the Arnolfini Gallery in Bristol. It was co-curated by Patrick Crogan, Jasper Sharp and Alastair Cameron. 8 Films by the dual Palme d'Or winning Japanese filmmaker were screened. A selection of the programme was also screened in London at the BFI. Funding was provided by the Japan Foundation, UK, and the Daiwa Anglo-Japanese Foundation, UK. The festival also included a one day symposium bringing together experts on Imamura and Japanese cinema from around the UK. The Festival screening program and other materials are archived on the Arnolfini website
<i>San Andreas</i> and the Spiralling of the Analogico–Digital Animated Image
No full text© 2017, © The Author(s) 2017. This article considers the contemporary state of mainstream Hollywood cinema as a profoundly animation-driven form of spectacular entertainment characteristic of global digital media in the era of what Bernard Stiegler calls hypercapitalism. With reference to the work of Esther Leslie, Dick Tomasovic and Stiegler, the author develops a critical account of what Leslie calls the ‘petrified unrest’ evident in the deployment of animation techniques and technologies in contemporary mainstream film and media through analysis of the recent Hollywood blockbuster, San Andreas (dir. Brad Peyton, 2015). This film’s big budget, spectacle-driven narrative and extensive deployment of the latest digital ‘motion design’ tools qualifies it as an exemplary instance of the paradoxical form of contemporary mainstream digital cinema, one which is both innovative and utterly conventional at the same time in Leslie’s account. The author elaborates what Stiegler describes as the spiralling instability of the current, hypercapitalist dynamic in which this paradoxical but ultimately unsustainable ‘petrified unrest’ manifests as a disorienting experience of technological and cultural transformation. For it is only in coming to terms with the profound connections between technological and cultural becoming that the potential can be found to move on from this disorienting condition of digital transformation under the prevailing hypercapitalist mode animating what Leslie terms our ‘dreamt reality’
- …
