Cultural representations « Solomon Asch Center

Choosing what (not) to do next: a preliminary theoretical framework on strategic innovation in terrorist organizations November 24, 2023 Mauro LubranoDepartment of Politics, Languages & International Studies, University of Bath, Bath, UK
Security challenges and policy initiatives: an analysis from CPEC standpoint November 20, 2023 Nazia MalikMuhammad Jamila student of PhD Economics at School of Economics, Quaid-i-Azam University, Islamabad, Pakistanb Professor of Economics, Ghulam Ishaq Khan Memorial Chair, Department of Islamic Economy & Banking, Kashmir Institute of Economics, University of Azad Jammu & Kashmir, Muzaffarabad, Pakistan
“And if it doesn’t work they deserve it anyway”: more evidence that retributive concerns motivate “enhanced interrogation” torture November 18, 2023 Ian HansenBennett Callaghana Department of Behavioral Sciences, York College, City University of New York, Jamaica, USAb Department of Psychology, Yale University, New Haven, USA
Understanding the resurgence of the Tehrik-e-Taliban Pakistan November 15, 2023 Shahzad AkhtarZahid Shahab Ahmeda School of Integrated Social Sciences, The University of Lahore - New Campus, Lahore, Pakistanb National Defence College, Abu Dhabi, United Arab Emirates
Should activism be treated as an indicator of attitudes towards political violence? September 4, 2023 Tomislav PavlovićDepartment of Psychology, Ivo Pilar Institute of Social Sciences, Zagreb, Croatia

Drone rock: Robotics company creates a flying, musical band

What this performance lacks in artistic merit or musical complexity, it makes up for in the technical achievement of delicately coordinating all the flying machines. A sign of the technology’s maturity may well be performances in which the art is more important than the programming.

Drones in Culture: Dilbert

This cartoon neatly combines fears on safety and corporate spying with a reference to an earlier era’s air technology fad.

Yemen’s New Ways of Protesting Drone Strikes: Graffiti and Poetry

Drones have become a major issue in Yemen, as their artistic pursuits are reflecting. Based on the article’s main image, the predator drone is becoming strongly symbolic in the region.

Drones in Culture: Blondie

The Blondie Comic strip for 24 Nov. 2013 has a hapless employee under constant monitoring by a miniature Predator drone. While the Predator design is clearly artistic license, this strip taps into a common worry about surveillance, lack of privacy, and the damping of free speech.

Drones in Culture: Colbert Report (13 Nov. 2013)

With his trademark sarcasm, Colbert covers drones. The Amnesty International/Human Rights Watch report on possible war crimes is touched on, followed by an investigation into Deer Trail, Colorado – the town that considered a ‘drone hunting license.’ Given Colbert’s popularity, both of these issues may be approaching common knowledge.

Drones in Culture: Zits

Drones in Culture: Marmaduke

A surprisingly neutral and apolitical appearance.

Unmanned Vehicles in Fiction: “Agents of S.H.I.E.L.D.”

In the pilot episode of Marvel’s new TV show, the protagonists use a fleet of mini-quadrotors to inspect and map a crime scene. While the miniaturization and capabilities shown are beyond current technology, the idea of using unmanned vehicles to map crime or disaster scenes is not.

Elysium (2013)

In Blomkamp’s Science Fiction parable of economic inequality, unmanned vehicles of all kinds are used to control, police, and oppress the protagonist and others. The most common use of unmanned vehicles in fiction has been – like this film – as tools of the antagonists and obstacles.

Drones in Games: Eve Online

Eve Online is a massively multiplayer online game set in the far future. Players pilot space-ships and interact in a universe where almost all aspects of the economy and government are dependent on players, up to and including ponzi schemes and assassinations. Players can also control their own fleet of drones, which can be used […]

Published by the University of Texas Press the book features 100 of Hyman's photographs and six critical essays that depict and discuss the emotional aftermath of the September 11, 2001, attacks -- a time when people from all walks of life created and encountered memorials to those who were murdered. Vernacular art appeared almost everywhere—on walls, trees, playgrounds, vehicles, houses, tombstones, and even on bodies. This outpouring of grief and other acts of remembrance impelled photographer Jonathan Hyman to document and preserve these largely impermanent, spontaneous expressions. This book, a unique archive of 9/11 public memory, is the result of his compiling a collection of 20,000 photographs, along with field notes and personal interviews. For more information about the book or to purchase it, visit the book's page at Amazon or Facebook.

Sramana Majumdar

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Dynamics of Asymmetric Conflict

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