[Reading Response: M. Christine Boyer]

In the same urban setting with concrete walls, without those imaginary high-tech structures floating in the air as described in science fictions, like it or not, we are living in the Cybercity, especially the case under the popular use of Big Data and Blockchain. The cyberspace and urban dystopia is not a mixture, as their spatial relationship is like mother-and-son.  Rather than “Form become InFORMation,” I would say information become space to define our habitat.  As simple as the use of mobile phone, or with cyber lampposts set along pavements, our whereabouts in disguise of informative data, are in surveillance. 

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Reading Response: Carl Abbott

From the reading “imagining urban futures” by Carl Abbott, one of his ideas that impressed me the most is how he defines a “city”. One of the special examples he mentioned in the text is the armada. In his definition, armada is also defined as a city. This concept is thought-provoking to me, initiating my thoughts on what a city means to me. In my option, as long as a place can form a community, it can be defined as a city, which shares a similar concept with the writer, suggested that the armada involved the connection and tying up

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Reading Response: Carl Abbott

Fang Wenbo UID: 3035789253 In the tutorial, we discuss the interesting future city in the reading. I want to share my view on the class, but time is so limited. I wasn’t able to share my point. About those sci-fi cities in the reading, I think the one on page 366 “city in train’ is very interesting. Although it seems unrealistic at first glance, It is astonishingly similar to our real world. The train city protects people from the terrible weather outside, just like the city that we live in protecting us from the wild environment. It provides us more

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[Reading Response: Carl Abbott OR M. Christine Boyer]

By reading these 2 articles, the second one catches my eyes, as it mentions the real world of cyber cities. I think it gave a great insight into the world’s development where all cities are starting to build like imaginary cities or what they call Sci-Fi cities. When we watch Sci-Fi movies before we never thought that this would come true where there are flying transportations and teleporters everywhere in the cities. Also, the city itself looked very fictional, but then now this essay gave me a feel where this might actually come true as the technology development is on

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[READING RESPONSE]: WILLIAM TSUTSUI

The extract taken from William Tsuitsui’s Noir Urbanism reflects upon the popularity of “annihilation fantasies” in Japanese culture.  Stemming from the nations susceptibility to catastrophe, Japan has refocused their feelings of vulnerability, animosity and fear into their visual culture.  A part of the text which I thought really reflects Tsuitsui’s analysis was his mentioning of Godzilla or Gojira.  Having never watched the movie due to my own lack of interest in monster films, his detailed analysis of the social and political relevance of the film made me want to watch it.  Tsuitsui draws connections between the monster’ attacks on Tokyo

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Reading Response: Ackbar Abbas

According to Ackbar Abbas, generic cities are cities that lack a different and unique historic, cultural or social qualities; while a exorbitant city is a city that has many mixed characteristics. I remember a district council dispute in Hong Kong that was on a sculpture design. The artist insist that his artwork in the middle of the street was improving the artistic and cultural value of the area. However, the citizens in that area disagree and thought the design is bad. I think that the citizens had a stronger ground because artwork in city should be a public art. It

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[Reading Response: William Tsutsui]

Tsutsui’s article gives me a broader context of Japanese monster movies. In the sense of space, it mentions the special features of the geography of Japan and the political and economic catastrophe it has undergone. Thus it explains why it is subject to nearly all kinds of natural disasters. The article highlights Tokyo, which is a relatively young city, and brings this into the reasons why constant construction and destruction have appealed to and embedded in the Japanese masses. For instance, in the 1966 TV series, Ultra Q, the city of Tokyo is destructed by giant monsters in each episode,

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[Reading Response: Carl Abbot]

At the end of this week’s tutorial, it reminds me of the movie Mad Max. Firstly, I am confused about whether it could be defined as a Cypherpunk Movie, while it normally refers to a type of combining the advanced technology and deteriorated social structure. Mad Max, however, is in an instinct background of the country and social context. The characters are a group of people who seem like been abandoned by dominating cultures and society. Nevertheless, this movie has the visual impression of Cyberpunk, with showing all kinds of new weapons (in a magical way to combine the technology

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Reading Response: Carl Abbot

In the article, the author imagines the idea of migratory city in the future. He suggests three kinds of migratory city: hunter-gatherers, cities riding the rails, and distributed cities. From my point of view, people’s motivation of making cities movable like avoiding disasters really matters than making cities moving itself. In the examples shown, the author discussed some social problems like class distinction. Science fiction may present a imaginary background associated with people that are typical compared with the ones in the real world. Environmental problem is another concern considering the destruction to the environment when developing technology(Maybe the migratory

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[Reading Response 3: William Tsutsui]

The reading from Tsutsui was an entertaining and enjoyable one because many of my favorite films and animes are set in dystopian environments. One message conveyed was the nostalgia manifested from the colossal destruction that the monsters caused within the films. The intention to revive the controversy of natural/man-made catastrophes and shining a new light has been one of the main themes in post-war films. At the same time, many modern films like Akira challenge the normality of destruction and the reflection upon these terrible acts by humanity. One can perceive that the monster in the films portrays the desire

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