All Narratives (356)
Find narratives by ethical themes or by technologies.
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- 15 min
- MIT Tech Review
- 2019
An attack in Saudi Arabia through malware known as Triton demonstrates that hackers, potentially even those belonging to nation-states, are willing to spend considerable time and money to hack into the increasing numbers of targets in industrial internets of things. Such cyber attacks could lead to unsafe workplaces and even catastrophes.
- MIT Tech Review
- 2019
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- 15 min
- MIT Tech Review
- 2019
Triton is the world’s most murderous malware, and it’s spreading
An attack in Saudi Arabia through malware known as Triton demonstrates that hackers, potentially even those belonging to nation-states, are willing to spend considerable time and money to hack into the increasing numbers of targets in industrial internets of things. Such cyber attacks could lead to unsafe workplaces and even catastrophes.
Is the grand increase in industrial convenience and productivity worth the increased risk for cyber attacks? In what ways can using an internet of things to control certain systems increase and decrease workplace safety, especially in more volatile settings?
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- 17 min
- Kinolab
- 2018
Wade Watts lives in an imagined future in which the OASIS, a limitless virtual reality world, acts as a constant distraction from the real world for the majority of citizens. Anything constructed in the virtual world, from possessions to relationships, is valued and taken as real by users. When a large corporation headed by Nolan Sorrento attempts to gain sole ownership of the virtual reality network, Wade’s avatar Parzival inspires a revolution among the citizens in the digital world, ultimately winning for himself and his friends the ownership of, and the power to regulate, the OASIS.
- Kinolab
- 2018
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- 17 min
- Kinolab
- 2018
Digital Escapism and Online Connections
Wade Watts lives in an imagined future in which the OASIS, a limitless virtual reality world, acts as a constant distraction from the real world for the majority of citizens. Anything constructed in the virtual world, from possessions to relationships, is valued and taken as real by users. When a large corporation headed by Nolan Sorrento attempts to gain sole ownership of the virtual reality network, Wade’s avatar Parzival inspires a revolution among the citizens in the digital world, ultimately winning for himself and his friends the ownership of, and the power to regulate, the OASIS.
What are the pros and cons of developing exciting, immersive communities in virtual reality platforms? Do social networks change the nature of human interaction for better, for worse, or both at once? Can any one social network outpace reality as a means of connection? What is the risk of one corporate entity having centralized control over large social digital spaces? What is “the real world” if VR is convincing enough? Should the digital be heavily regulated if it serves as a legitimate coping mechanism for some?
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- 4 min
- Kinolab
- 2018
Wade Watts lives in an imagined future in which the OASIS, a limitless virtual reality world, acts as a constant distraction from the real world for the majority of citizens. In this scene, the virtual avatars of himself and his team search for a McGuffin item in the digitally rendered atmosphere of the film The Shining, with features of the film such as the twin girls making an appearance.
- Kinolab
- 2018
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- 4 min
- Kinolab
- 2018
Digitizing the Fictional and Copyright Claims
Wade Watts lives in an imagined future in which the OASIS, a limitless virtual reality world, acts as a constant distraction from the real world for the majority of citizens. In this scene, the virtual avatars of himself and his team search for a McGuffin item in the digitally rendered atmosphere of the film The Shining, with features of the film such as the twin girls making an appearance.
How can pre-existing media, like film, be made “new” through deep fake and VR tech? What are the copyright issues that arise? If digital technology can render fictional settings accessible to everyone, who truly “owns” a space or story? Do narrative artists lose creative power if people can digitally insert themselves into the worlds of a story?
Ready Player One: The Shining in VR-
- 2 min
- Kinolab
- 2019
In an imagined future of London, citizens all across the globe are connected to the Feed, a device and network accessed constantly through a brain-computer interface. In this clip, Meredith must seek help from the leader of a developing country without the Feed network, because the Feed has become hacked and is bringing down infrastructure with it.
- Kinolab
- 2019
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- 2 min
- Kinolab
- 2019
Technological Superhighways and Monopolistic Control
In an imagined future of London, citizens all across the globe are connected to the Feed, a device and network accessed constantly through a brain-computer interface. In this clip, Meredith must seek help from the leader of a developing country without the Feed network, because the Feed has become hacked and is bringing down infrastructure with it.
How integrated should our advanced technology be into our daily lives and basic amenities? Does it pose risks if the tech is hacked? What risks exist with technology monopolization, besides economic inequality? Should nearly all service be reliant on a small number of platforms with highly centralized control? Is the developing country of COM better off now because it never had the technology to begin with, and is therefore uncorrupted now?
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- 10 min
- Kinolab
- 2018
This narrative provides two different case studies of remote-controlled vehicles in the story of T’Challa’s attempts to properly rule his country, Wakanda. T’Challa, also known as the superhero Black Panther, makes use of this technology to put a stop to criminals who threaten his people and his power. In the first clip, T’Challa and his companions track down Ulysses Klaue, a notorious criminal who formerly stole from Wakanda, down the streets of Busan, Korea. In the second clip, agent Everett Ross makes use of the technology to pilot a drone, which he uses to shoot down autonomous drones carrying weapons from Wakanda to the rest of the world.
- Kinolab
- 2018
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- 10 min
- Kinolab
- 2018
Remote Controlled Driving of Vehicles
This narrative provides two different case studies of remote-controlled vehicles in the story of T’Challa’s attempts to properly rule his country, Wakanda. T’Challa, also known as the superhero Black Panther, makes use of this technology to put a stop to criminals who threaten his people and his power. In the first clip, T’Challa and his companions track down Ulysses Klaue, a notorious criminal who formerly stole from Wakanda, down the streets of Busan, Korea. In the second clip, agent Everett Ross makes use of the technology to pilot a drone, which he uses to shoot down autonomous drones carrying weapons from Wakanda to the rest of the world.
When operating vehicles remotely, how is it easy for the driver to become desensitized to the surroundings of the vehicle? Might entertainment technology such as violent video games play a role in such desensitization? What phenomena of a street or other driving environment may or may not be abstracted into a digital map of the vehicle’s surroundings?
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- 12 min
- Kinolab
- 2016
“Hidden Figures” chronicles the journeys of Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer), and Mary Jackson (Janelle Monáe), three black women who worked on the space missions at the Langley Research Center in Hampton, Virginia in 1961. All three women persist against segregation and abject racism as they climb the ladder and make important contributions to the space mission. While Katherine becomes the first black woman on Al Harrison’s Space Task Group, Mary Jackson pursues her dream of becoming an engineer at NASA by petitioning to take courses at an all white school, and Dorothy Vaughan attempts to learn the programming language Fortran in order to ensure that herself and fellow human computers are not replaced by the newest IBM 7090 computer.
- Kinolab
- 2016
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- 12 min
- Kinolab
- 2016
Hidden Figures Part II: Goals of Equity and Women of Color in the Workplace
“Hidden Figures” chronicles the journeys of Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer), and Mary Jackson (Janelle Monáe), three black women who worked on the space missions at the Langley Research Center in Hampton, Virginia in 1961. All three women persist against segregation and abject racism as they climb the ladder and make important contributions to the space mission. While Katherine becomes the first black woman on Al Harrison’s Space Task Group, Mary Jackson pursues her dream of becoming an engineer at NASA by petitioning to take courses at an all white school, and Dorothy Vaughan attempts to learn the programming language Fortran in order to ensure that herself and fellow human computers are not replaced by the newest IBM 7090 computer.
How is the history of the oppression of Black people in America responsible for a lack of diversity in workplaces, including those involving science and technology in the present? What do technology companies in the current day need to consider in order to ensure that their workforce is diverse and equitable? What does the specific case of Dorothy being initially denied access to the Fortran book reveal about the past and present accessibility of minority groups to fluency in digital technologies? What needs to happen inside of and outside of the technology industry to ensure better opportunities for women of color in technology-focused workplaces? What role does implicit bias play in all of these considerations?