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Fifty years ago, Hannah Arendt wrote her seminal essay, The Human Condition, examining the relationship between science, society and politics in a context of maturing nuclear power and ongoing Cold War. And she started off her introduction with a reference to “the highly non-respectable literature of science fiction (to which, unfortunately, nobody yet has paid the attention it deserves as a vehicle of mass sentiments and mass desires).” We live now in an age of terrorism, cyber-worlds and bi...

The European formation of the “mad scientist” as a late eighteenth and early nineteenth century Romantic archetype focuses explicitly on the ethics and the politics of knowledge. More specifically, the denial of communication as an exchange of knowledge is a repeated theme in the presentation of this figure of the “scientist” or “savant”. I shall examine some evidence from the Anglo-Saxon fictional tradition of a tension in the concept of the “savant” or scientist, particularly when considere...

“Since I see technology as being an extension of the human body, it’s inevitable that it should come home to roost.” David Cronenberg “Technology is a mode of revealing. Technology comes to presence in the realm where revealing and unconcealment takes place, where aletheia, truth, happens.”Martin Heidegger, “The Question Concerning Technology” “Socrates – Glaucon: And now, I said, let me show in a figure how far our nature is enlightened or unenlightened: – Behold! Human beings living in an u...

Unmanned Aerial Vehicles (UAV) have been heavily studied in the past decade, where autonomous flights have been a popular subject. More complex applications have led to higher requirements on the autonomous flight algorithms and the absence of performance data complicates the selection of what algorithm to use for various applications. Therefore, this thesis focused in analyzing the performance difference between two methods, Simultaneous Localization AndMapping (SLAM) and Artificial Potential Field Approach (APFA), which are planning and reactive algorithms, respectively. Fundamental dynamics were applied, Feedback Linear Controllers (FBLC)s for stabilization and an odometry position model combined with an inverse dynamics technique that linearizes the non-linear odometry model. The SLAM approach was set up in four steps: landmark extraction which uses a point distance based method for segment separation, combined with a Split-And-Merge algorithm for extracting linear landmarks, data association that validates the landmarks, Extended Kalman Filter (EKF) that uses the landmarks together with the odometry model for estimating the position of the UAV, and a modified TangentBug as the reactive algorithm. The APFA was constructed of two functions, an attractive and a repulsive function. The two methods were implemented on the robotics simulation platform Virtual Robot Experimentation Platform (V-REP), where a quadcopter was used as the model for the UAV. All theory was implemented onto the quadcopter model and embedded scripts were used for communication within V-REP, mainly through internal Application Programming Interface (API)-functions. Furthermore, a script was written that randomly generates three different types of simulation environments. The implementation of both methods was analyzed in reaching an arbitrary goal position in terms of: the most successful, the most time efficient and the safest navigation path. Another thing analyzed was the time- and space-complexity of both implemented methods. The results stated that the implemented APFA and the SLAM approach had approximately equal success rate, SLAM had the safest navigation, was the most time efficient, and had the highest time- and space-complexity for a worst case scenario. One of the conclusions were that improvements could be done in the implementations. Future work includes adding a proper damping method, improving the flaws in the implemented methods as well as to use V-REP as a Robot Operating System (ROS)-node for creating a Software In The Loop (SITL)-simulation, in order to achieve more realistic simulations.

Au-delà de la figure du cinéaste engagé qui interpelle le public par son œuvre, cet ouvrage s'intéresse à la culture de l'engagement qui se déploie dans un espace extra-filmique. À travers des exemples tirés de contextes géographiques distincts (États-Unis, France, Espagne, Afrique du Sud, etc.), les auteurs démontrent que la politisation des films est souvent précédée par une prise de position des réalisateurs et des acteurs. La culture de l'engagement est liée à l'action collective permise par les films qui se laissent instrumentaliser à des fins politiques. Les festivals de cinéma sont ainsi des lieux de réflexion et de protestation, où l'artiste rencontre le militant dans un espace de mobilisation collective. Cet ouvrage dessine les contours historiques de cette culture cinématographique engagée ; il évoque les crises historiques qui appellent des actes de création. Du franquisme à l'apartheid, de la ségrégation raciale aux indignés, le cinéma absorbe les tensions sociales qu'il transcende dans un art de l'engagement. Étudiés en lien avec leurs conditions de production et de réception, les films considérés dans cet ouvrage démontrent que le cinéma demeure un lieu de résistance à la fabrique du consentement. Ils s'inscrivent dans un rapport de force avec le cinéma dominant, dont ils interrogent les normes en montrant les luttes des oubliés de l'histoire.

Le cinéma hollywoodien s’intéresse peu au monde ouvrier, privilégiant les images de réussite économique et sociale qui confortent la croyance dans le rêve américain. Doyle Green, auteur d’un ouvrage pionnier sur la représentation de l’histoire ouvrière à l’écran intitulé The American Worker on Film, A Critical History, 1909-1999, évoque la figure du noble ouvrier, dont la dignité et la ténacité sont glorifiées face aux difficultés économiques qui le mettent à l’épreuve. Dans Les Raisins de la...

THE PUBLIC INTEREST. DO WE HAVE A DUTY? The results of a poll recently published in Romania indicated that 50 % of the population is not interested in understanding the activities of the political police under the communist regime. The poll also showed that 67 % do not want to find out if somebody in their family worked for the Securitate. These figures only confirm what we already knew: there is an obvious refusal to take responsibility for the criminal activities of the regime. More than ha...

While the very first non-communist government in Polish post-war history “demonstrated the truism that only revolutionaries are able to impose austerity,” its executives declared that austerity measures would bring fruits only when all links with the past were broken. The Prime Minister announced in his inaugural speech the need to draw a “bold line” between the inglorious past and the brighter future, and the technocratic finance minister justified the drastic dismantling of socialist indust...

Exhibitions on the communist past are scarce in Romanian museums. In contrast to this scarcity, the commemoration of the “communist tragedy” through memorials, monuments and the hybrid species of memorial-museum is disproportionately present. Only a very skilled and determined museumgoer will be able to discover the few places where aspects of the communist past are permanently exhibited in Romanian museums. In Bucharest, the visitor should be prepared to go underground to find the only perma...

Since the collapse of Communism, three major museums dealing with the recent past have been established in the capital cities of the Baltic states. Two of these—the Museum of Occupations (Tallinn, Estonia, established in 2003) and The Museum of the Occupation of Latvia (Riga, 1993)— linked the Nazi and Soviet periods together to present a history of continuous national subjugation and suffering at the hands of foreign powers, lasting from 1940 to 1991. The third—the Museum of Genocide Victims...

How do museums and cinema shape the image of the Communist past in today’s Central and Eastern Europe? This volume is the first systematic analysis of how visual techniques are used to understand and put into context the former regimes. After history “ended” in the Eastern Bloc in 1989, museums and other memorials mushroomed all over the region. These efforts tried both to explain the meaning of this lost history, as well as to shape public opinion on their society’s shared post-war heritage. Museums and films made political use of recollections of the recent past, and employed selected museum, memorial, and media tools and tactics to make its political intent historically credible. Thirteen essays from scholars around the region take a fresh look at the subject as they address the strategies of fashioning popular perceptions of the recent past. "Books on the CEE transformations that deal with media and popular cultures should be welcomed. Past for the Eyes belongs to this extraordinary breed. The book is devoted to the visual representations of the socialist / communist past and the forms they took. The interconnected processes of visualization of the past, and the collective memory sedimentation are the main focus. The book brings together perspectives of linked but still distinctive ways of enquiry: visual studies, cultural studies, area studies, museum studies and contemporary history with its passion for ethnography and oral evidence.

Since the late 1980s, when the changes in Eastern and Central Europe seemed overwhelming and access to previously restricted information grew exponentially, this region could safely claim an unpredictable past. Today, almost two decades after the fall of communist regimes, scholars working on the recent past are paradoxically challenged by the abundance of memory and the variety of witnesses’ accounts, which confront the professional historical narrative with the simple claim “I was there and...

One can look back at the footprints left in the sandand see them as a road.Zygmunt Bauman, From Pilgrim to Tourist From a growing temporal distance, the Soviet historical “episode” seems to entail an emphatic beginning and a somewhat less spectacular but equally distinguishable end. The present article sets out to review the films of the last twenty years dealing with the Soviet period. Despite the declared break with the past, characteristic of transitional societies, a closer look at the so...

More than fifteen years have passed since the change of the political regime in Eastern Europe, but the countries of the former Soviet bloc still face the fundamental challenge of how to deal with the events of their recent past, how to come to terms with the legacy of Socialism and its local versions. There are countless ways of approaching these issues, but I will focus on the possibilities of interpretation provided by creative documentaries. The material for my analysis is Péter Forgács’s...

THE UNFINISHED PRESENT: INTERPRETATIVE CONFLICTS OF MEMORY AND HISTORY “Budapest is a city without time. If you visit here, you will not feel that you are in the nineties. (…) Here the politicians want to win World War I in Parliament.” This remark by Jenő Menyhart, underground musician and emblematic figure of the 1980s in Hungary, uttered in his subjective, sarcastic style, explicates the symbolic battle for possession of the past in post-socialist Hungary. Labeling the historical conscious...

Péter Apor (b. 1971) is a research fellow at Pasts Inc., Center for Historical Studies at the Central European University. His dissertation on communist representations of history in Hungary was defended at the European University Institute in Florence in 2002. His main research themes include the politics of history and memory, popular culture, and the history of historiography. Gabriela Cristea (b. 1980) is a research assistant at the Romanian Peasant Museum, Bucharest. She received her MA ...

The “Velvet Revolution” in November 1989 brought about enormous changes in the political and social environment: the communist -regime was abolished and after forty-one years democracy was reestablished in Czechoslovakia. In art, the most important change brought by the Revolution was the end of censorship. Since 1989 artists have been allowed to do as they wish—as long as they can find the funding. Film in socialism was funded exclusively by the state, but since about 1990 the state has not ...

The visual record of Hungary’s transition to democracy is marked with comfortably familiar (if not canonical) images of key events and personalities. No visual representation of the Hungarian transition which takes its topic and itself seriously is complete without the black-and-white film of Imre Nagy, the prime minister of the 1956 revolt, listening to his death sentence, followed by the images of the immense crowd at his reburial ceremony before the catafalque on Heroes’ Square. The story ...

About 60 km from Bulgaria’s capital, Sofia, lies a small town which currently represents the primary case of what can be described as a “museum of Socialism in the country.” The town has nothing that can be compared to Budapest’s Statue Park, nor is it a place where the heritage of the socialist period is put on display, decontextualized and recontextualized in a post-socialist mode. It would be wrong to suggest that the town was once the location of a labor camp or a prison for the socialist...

…history-as-problem has much less of an audience thanhistory-as-dream, history-as-escapism, than History. This article explores the ways the national past of ex-Yugoslavia is cinematically remembered, with particular focus on the role played by the combination of documentary and fictional material in the creation of diverse cinematic memories in mainly but not exclusively post-Yugoslav cinema. The primary issue I address is the role of documentary “interventions,” the use of remembrance and m...

It was a cold Monday in early December 2006. On the way to work I passed a tram stop. A black and white poster with heavy red lettering “Thou Shalt not Kill” hung on the wall of a tram shelter. It hung between two colorful posters, one with a girl saying “I am looking for a mummy and a daddy”—part of a social campaign for adoption—and another “Apocalypto by Mel Gibson”—a movie advertisement. My first idea was that the black and white poster must relate to the fairly controversial antiabortion...