Blockchain Papers

Dan Zhang, Simon Chadwick, Lingling Liu

No abstract is available for this record.

Qinglin Yang, Yetong Zhao, Huawei Huang, Zehui Xiong · 6 authors

Metaverse as the latest buzzword has attracted great attention from both industry and academia. Metaverse seamlessly integrates the real world with the virtual world and allows avatars to carry out rich activities including creation, display, entertainment, social networking, and trading. Thus, it is promising to build an exciting digital world and to transform a better physical world through the exploration of the metaverse. In this survey, we dive into the metaverse by discussing how Blockchain and Artificial Intelligence (AI) fuse with it through investigating the state-of-the-art studies across the metaverse components, digital currencies, AI applications in the virtual world, and blockchain-empowered technologies. Further exploitation and interdisciplinary research on the fusion of AI and Blockchain towards metaverse will definitely require collaboration from both academia and industries. We wish that our survey can help researchers, engineers, and educators build an open, fair, and rational future metaverse.

Sina Osivand

Metaverse is an immersive 3D virtual environment, a true virtual artificial community in which avatars act as the user's alter ego and interact with each other. If we do not manage the hype for the metaverse, which has recently been receiving a surge in interest, the metaverse will fail to cross the chasm. This article conducts a comprehensive survey on computational arts, in which seven critical topics are relevant to the metaverse, describing novel artworks in blended virtual-physical realities. The topics first cover the building elements for the metaverse, e.g. Virtual scenes and characters, auditory, textual elements. Next, several remarkable types of novel creations in the expanded horizons of metaverse cyberspace have been reflected, such as immersive arts, robotic arts, and other user-centric approaches fuelling contemporary creative outputs.

Ruba Alkadi, Abdulhadi Shoufan

Unmanned aerial vehicles (UAVs) are gaining immense attention due to their potential to revolutionize various businesses and industries. However, the adoption of UAV-assisted applications will strongly rely on the provision of reliable systems that allow managing UAV operations at high levels of safety and security. Recently, the concept of UAV traffic management (UTM) has been introduced to support safe, efficient, and fair access to low-altitude airspace for commercial UAVs. A UTM system identifies multiple cooperating parties with different roles and levels of authority to provide real-time services to airspace users. However, current UTM systems are centralized and lack a clear definition of protocols that govern a secure interaction between authorities, service providers, and end-users. The lack of such protocols renders the UTM system unscalable and prone to various cyber attacks. Another limitation of the currently proposed UTM architecture is the absence of an efficient mechanism to enforce airspace rules and regulations. To address this issue, we propose a decentralized UTM protocol that controls access to airspace while ensuring high levels of integrity, availability, and confidentiality of airspace operations. To achieve this, we exploit key features of the blockchain and smart contract technologies. In addition, we employ a mobile crowdsensing (MCS) mechanism to seamlessly enforce airspace rules and regulations that govern the UAV operations. The solution is implemented on top of the Etheruem platform and verified using four different smart contract verification tools. We also provided a security and cost analysis of our solution. For reproducibility, we made our implementation publicly available on Github.

Allan Fowler, Johanna Pirker

In recent years, there has been an increase in the interest in non-fungible tokens (NFT) to purchase digital art and has shaped a new form of art collecting. The art community has a long history of challenges and opportunities with the commercialization of art. More recently, there has also been an interest in the purchase of game art as investments or collecting. With the advent of blockchain currencies, NFTs have introduced a way for investors, collectors, and game developers to purchase or sell game art. However, the potential of NFT for the games and game development industry is manifold. In this paper, the authors will reflect on the potential of NTF’s for game developers and content creators.

Lik‐Hang Lee, Tristan Braud, Pengyuan Zhou, Lin Wang · 9 authors

Since the popularisation of the Internet in the 1990s, the cyberspace has kept evolving. We have created various computer-mediated virtual environments including social networks, video conferencing, virtual 3D worlds (e.g., VR Chat), augmented reality applications (e.g., Pokemon Go), and Non-Fungible Token Games (e.g., Upland). Such virtual environments, albeit non-perpetual and unconnected, have bought us various degrees of digital transformation. The term `metaverse' has been coined to further facilitate the digital transformation in every aspect of our physical lives. At the core of the metaverse stands the vision of an immersive Internet as a gigantic, unified, persistent, and shared realm. While the metaverse may seem futuristic, catalysed by emerging technologies such as Extended Reality, 5G, and Artificial Intelligence, the digital `big bang' of our cyberspace is not far away. This survey paper presents the first effort to offer a comprehensive framework that examines the latest metaverse development under the dimensions of state-of-the-art technologies and metaverse ecosystems, and illustrates the possibility of the digital `big bang'. First, technologies are the enablers that drive the transition from the current Internet to the metaverse. We thus examine eight enabling technologies rigorously - Extended Reality, User Interactivity (Human-Computer Interaction), Artificial Intelligence, Blockchain, Computer Vision, Edge and Cloud computing, and Future Mobile Networks. In terms of applications, the metaverse ecosystem allows human users to live and play within a self-sustaining, persistent, and shared realm. Therefore, we discuss six user-centric factors -- Avatar, Content Creation, Virtual Economy, Social Acceptability, Security and Privacy, and Trust and Accountability. Finally, we propose a concrete research agenda for the development of the metaverse.

Lik‐Hang Lee, Tristan Braud, Pengyuan Zhou, Lin Wang · 9 authors

Since the popularisation of the Internet in the 1990s, the cyberspace has kept evolving. We have created various computer-mediated virtual environments, including social networks, video conferencing, virtual 3D worlds (e.g., VR Chat), augmented reality applications (e.g., Pokémon Go), and Non-Fungible Token Games (e.g., Upland). Such virtual environments, albeit non-perpetual and unconnected, have brought us various degrees of digital transformation. The term “metaverse” has been coined to facilitate further digital transformation in every aspect of our physical lives. At the core of the metaverse stands the vision of an immersive Internet as a gigantic, unified, persistent, and shared realm. While the metaverse may seem futuristic, catalyzed by emerging technologies such as Extended Reality, 5G, and Artificial Intelligence, the digital “big bang” of our cyberspace is not far away. This survey presents the first effort to offer a comprehensive framework that examines the latest metaverse development under the dimensions of state-of-the-art technologies and metaverse ecosystems and illustrates the possibility of the digital “big bang”. It is essential to highlight that the metaverse encompasses diverse technologies and ecosystems, calling it an interdisciplinary and emerging field. Its primary objective is to provide users with satisfactory and interactive experiences. First, technologies are the enablers that drive the transition from the current Internet to the metaverse. We thus examine eight enabling technologies rigorously – Extended Reality, User Interactivity (Human-Computer Interaction), Artificial Intelligence, Blockchain, Computer Vision, IoT and Robotics, Edge and Cloud computing, and Future Mobile Networks. In terms of applications, the metaverse ecosystem allows human users to live and play within a self-sustaining, persistent, and shared realm. Therefore, we discuss six user-centric factors – Avatar, Content Creation, Virtual Economy, Social Acceptability, Security and Privacy, and Trust and Accountability. Finally, we propose a concrete research agenda for developing the metaverse.

Husheng Wu, Hao Li, Xiao Renbin

It is difficult for the double suppression division algorithm of bee colony to solve the spatio-temporal coupling or have higher dimensional attributes and undertake sudden tasks. Using the idea of clustering, after clustering tasks according to spatio-temporal attributes, the clustered groups are linked into task sub-chains according to similarity. Then, based on the correlation between clusters, the child chains are connected to form a task chain. Therefore, the limitation is solved that the task chain in the bee colony algorithm can only be connected according to one dimension. When a sudden task occurs, a method of inserting a small number of tasks into the original task chain and a task chain reconstruction method are designed according to the relative relationship between the number of sudden tasks and the number of remaining tasks. Through the above improvements, the algorithm can be used to process tasks with spatio-temporal coupling and burst tasks. In order to reflect the efficiency and applicability of the algorithm, a task allocation model for the unmanned aerial vehicle (UAV) group is constructed, and a one-to-one correspondence between the improved bee colony double suppression division algorithm and each attribute in the UAV group is proposed. Task assignment has been constructed. The study uses the self-adjusting characteristics of the bee colony to achieve task allocation. Simulation verification and algorithm comparison show that the algorithm has stronger planning advantages and algorithm performance.

Mihai Duguleană, Florin Gîrbacia

Non-fungible tokens are one of the newest use-cases of blockchain technology. Ethereum Virtual Machine (EVM)-based blockchains such as Ethereum, Binance Smart Chain (BSC), or Polygon/Matic have standardized this type of tokens using interfaces such as ERC721 and ERC1155. This development fostered a connection between blockchain and Mixed Reality technologies, which can now coexist in cohesive applications. In this paper, we present the opportunities and challenges resulting from using Augmented Reality NFTs, with a particular focus on the preservation of property, whether it is physical or purely digital. We present a methodology that can ensure the protection of privacy and the preservation of intellectual property when transitioning assets from the virtual to the physical world.

Efe Bozkir, Shahram Eivazi, Mete Akgün, Enkelejda Kasneci

Eye tracking data collection in the virtual reality context is typically carried out in laboratory settings, which usually limits the number of participants or consumes at least several months of research time. In addition, under laboratory settings, subjects may not behave naturally due to being recorded in an uncomfortable environment. In this work, we propose a proof-of-concept eye tracking data collection protocol and its implementation to collect eye tracking data from remotely located subjects, particularly for virtual reality using Ethereum blockchain and smart contracts. With the proposed protocol, data collectors can collect high quality eye tracking data from a large number of human subjects with heterogeneous socio-demographic characteristics. The quality and the amount of data can be helpful for various tasks in data-driven human-computer interaction and artificial intelligence.

Alberto Cannavò, Fabrizio Lamberti

Nowadays, breakthrough technologies, such as virtual reality (VR), augmented reality (AR), and Blockchain, have definitively attracted the attention of a huge number of investors worldwide. Although, at first glance, Blockchain (traditionally used for financial services) seems to have little to none to share with VR and AR (originally adopted for entertainment), in the last few years several use cases started to appear showing effective ways to integrate these technologies. In this article, an overview of opportunities investigated by current solutions combining VR, AR, and Blockchain will be discussed, showing how they allowed both companies and academic researchers cope with issues affecting traditional services and products in a rather heterogenous set of application domains. Opportunities that could foster the convergence of these technologies and boost them further are also discussed.

Nyane Ezekiel Macdonald Mofokeng, Thapeli Kenny Matima

Tourism destinations are always seeking new and innovative ways to better market tourism offerings and increase tourism revenues. This paper seeks to highlight a future tourism marketing trend through the use of virtual environments (VE) backed by Distributed Ledger Technologies (DLT’s) such as Blockchain. VE is the umbrella term referring to virtual reality (VR), augmented reality (AR) and mixed reality (MR), also known as merged reality. The virtual reality market is said to be the next frontier in digital marketing and in recent years the tourism industry has slowly taken advantage of developments in the virtual space. On the other hand, DLT’s such as Blockchain technology is bound to revolutionize and disrupt various business sectors such as the financial and supply chain management sectors, among many. An indicator of this is the number of Fortune 500 companies that are members of the Enterprise Ethereum Alliance – an alliance that is seeking to build enterprise-grade software on the Ethereum Blockchain. The analysis suggest that VR based tourism utilizing DLT’s can positively impact the tourism industry and provide a means for additional revenue.

Hazal Değirmen

The technologies of today's world are constantly updating themselves and adding innovations.The concept of Metaverse, which is seen as the biggest digital transformation concept of recent years, represents a brand new and unpredictable universe where multiple virtual universes merge.The graphic design field is also seen as a field that can renew itself with the Metaverse era in line with its professional skills.When used effectively, this virtual universe is seen as a brand new door of opportunity for graphic designers who can make three-dimensional (3D) designs, design user interfaces and have sufficient technical skills and equipment.For graphic artists who can produce digital works for the Metaverse, NFT [Non Fungible Token (qualified intellectual property)] allows them to earn income while protecting their works.However, in this new virtual universe community, which has not yet settled into a certain systematization, it remains unclear what the course of events will be for graphic designers.

Huaxin Wang, Joris S. M. Vergeest, Jan Miedema, Frank Meijer · 6 authors

Synthetic environment equipped with user interfaces intuitive for direct 3D shape modification by non-designer stake-holders was proposed as a collaboration tool for design concept communication in dynamic prototyping of product design in early stages of the design process. After a survey of 3D user interaction techniques for SE, a simple user interface with hierarchical visual menu was proposed and a proof-of-concept implementation of it was tested to be intuitive with experiment, which serves as a base for further study to verify the hypothetical benefits of SE aided dynamic prototyping in terms of communication efficiency and accuracy.

B. Balamurugan, T. Poongodi, M. R. Manu, S. Karthikeyan · 5 authors

The moving image archive of the US Agency for International Development (USAID) includes a copy of the film The Double Day (1975), cataloged in the series Moving Images Relating to International Development Programs and Activities, 1979–1991, a collection of more than eight hundred titles “created to provide information on assistance programs supported by the Agency for International Development (AID).”1 Yet, The Double Day does not, in fact, directly depict or engage with any specific development or aid initiative. Instead, the film—directed by US-based Brazilian filmmaker Helena Solberg as part of the International Women’s Film Project collective and described as “the first Latin American feminist documentary”—examines the gendered dynamics of paid and unpaid labor through the testimonies of women from Argentina, Bolivia, Venezuela, and Mexico.2 Its presence in the USAID archive is likely a consequence of its funding history, having received support from the Inter-American Foundation, a USAID-affiliated entity; the development agencies of Denmark, Norway, and Sweden; the United Nations Development Program; and US philanthropist Calvin Cafritz.3These transnational funding structures not only enabled the film’s production but also determined its archival destination, which renders legible its place within the history of international development.4 The Double Day’s institutional trajectory reflects the shifting configurations of aid, gender, and media during a historic moment when women were being repositioned at the center of what Arturo Escobar has described as development’s “regimes of visuality.”5 Especially relevant to The Double Day’s production and exhibition was the international institutional framework of Women in Development (WID). Emerging in the early 1970s and culminating in United Nations’ proclamation of 1975 as International Women’s Year, WID emphasized women’s participation in the global economy as both an index and mechanism of development. Indeed, The Double Day premiered at the World Conference of the International Women’s Year, held in Mexico City.6 Within this context, the film forms part of a broader trajectory of media use by international organizations that intensified during the 1970s—as best exemplified by Media Habitat, a collection of 236 documentary films commissioned by the United Nations to represent urban and rural development initiatives for the 1976 Habitat Conference on Human Settlements in Vancouver. As a policy-shaping initiative, Media Habitat primarily featured films from the Global South intended not only to illustrate but also to help codify standardized audiovisual markers of “underdevelopment” that determined access to the emerging global economic order and to international aid.7Framed in relation to these international institutions and their operations, The Double Day could similarly be considered “development media”—exemplifying the type of nonfiction media produced and distributed outside of the commercial film circuits whose aspects and subcategories have been variously described in scholarship as nontheatrical, useful, sponsored, institutional, industrial, educational, or nonprofessional/amateur.8 Scholars working in this area have emphasized the institutional contexts of such media’s production and exhibition infrastructures as shaping its instrumentalized effects. From a feminist perspective, such an approach is crucial to grappling with the broader question of how “gender impacts [these works’] shape, content, and trajectories.”9 Yet we also argue that, taken in isolation, the institutional and infrastructural contexts are insufficient to account for the complex relationship between media and development, potentially not only limiting our understanding of the reach and impact of development but also distorting our interpretive conclusions. For example, to categorize The Double Day as “development media” is to overlook the film’s place within Solberg’s directorial oeuvre, as well as within the histories of both transnational women’s filmmaking and radical Latin American documentary cinema to which it simultaneously belongs. Such exclusive framing is especially limiting given that women globally were disproportionately engaged in nonfiction production throughout the twentieth century—sometimes by political choice but more often due to structural exclusions from fiction filmmaking. Even in nonfiction historiography, however, institutional media has remained particularly marginal, reinforcing hierarchies that separate such works from the aesthetic and authorial frameworks through which film history has been constructed.10 This marginalization not only tends to erase women’s contributions but also presumes a “weak” or derivative authorship, rendering these films unworthy of the interpretive attention needed to apprehend their aesthetic and political complexity.11 The same dynamic is likely to structure assumptions about “development media” as well.Categorizing The Double Day exclusively within this category would further prompt us to assume top-down institutional analyses that have been characteristic of both institutional media methodologies and the scholarship on development at large. This, in turn, would risk obscuring this film’s radical Marxist approach to women’s labor as well as its concrete contribution to activism and its attendant grassroot structures. In Mexico City, The Double Day became a catalyst for feminist solidarity in practice when one of the film’s protagonists, Bolivian activist and trade unionist Domitila Barrios de Chungara, was invited to participate in the Tribune of Non-Governmental Organizations held alongside the official UN conference.12 There, Barrios de Chungara challenged Western feminist priorities by reframing the debate around labor, class, and imperialism, helping to articulate a shared Third World feminist agenda that significantly departed from the developmentalist vision of the United Nations and USAID.13 Seen through the lens of activist media, The Double Day helped forge transnational solidarity networks by enabling information exchange across the diverse voices that shaped its making—from the women featured in the film to the activists who circulated it—revealing a considerably more dynamic interplay between institutional and grassroots or contingent media practices.Moreover, the film’s Latin American context—reflected in Solberg’s formation in Brazil as the only woman in Cinema Novo, its focus on women from across the region, and its premiere and key reception in Mexico City—requires grappling with the regional specificities of the very notion of development in its multiple iterations.14 Far from being an epistemological and political framework imposed solely by the Global North, both the practices of development and the theoretical foundations of developmentalism (understood as a broad and polysemic set of discourses) were shaped through the active participation of Latin American economists.15 Within this iteration, underdevelopment, as a constitutive notion of developmentalism, became central to a distinctly critical strand, which by the late 1960s became known as the dependency theory.16 This same approach is reflected in some of the best-known Latin American radical film manifestos of the time, arising precisely from the same milieus to which Solberg belonged.17These various considerations of the film’s history illustrate the methodological challenges confronting feminist scholars seeking to assess the impact of development on media projects, theories, and practices. To disregard the developmentalist context of such works by emphasizing their political aesthetics and affects risks reproducing a romanticized narrative of heroic resistance (albeit from a feminist perspective). Yet to engage exclusively with their institutional and material infrastructures risks naturalizing developmentalism’s political and epistemological foundations at the expense of the goals and beliefs of the many women who participated in these projects. The contradictions and ambivalences that animate such histories call for feminist frameworks capable of holding both institutional complicity and radical possibility in view.This challenge resonates with ongoing debates about the politics of the archive and what Allyson Field has termed “the practice of informed speculation.”18 As she reminds us, feminist, queer, and decolonial methodologies have long taught us to “press at the limits” of the archive to “inoculate our scholarship against our evidence’s afflictions.”19 The concern that the evidence we draw on in our analysis reproduces the very structures and blind spots of the dominant ideology and therefore shapes and delimits our interpretation becomes particularly urgent when engaging the developmentalist media corpus. Informed speculation offers an alternative by inviting the experimental, creative, and speculative rewriting of history, mobilizing the archive “in a project that runs counter to the original purpose, or the imperative to preserve, or the conditions that led to erasure.”20 Yet, as Field cautions, such speculative gestures must remain grounded in a deep and “intimate familiarity with the archive” that we are working with and against. Building on this imperative, we suggest that the developmentalist archive, in particular, demands expansion and critical reconsideration in ways that unsettle the very disciplinary frameworks through which it has been studied as well as the larger institutional contexts for such knowledge production.Our focus on The Double Day in the opening of this introduction thus foregrounds the entanglements of institutional and grassroots forces, local and international contexts, structural and interpersonal relations, and creative and economic factors that have shaped not only this film but the broader ecosystem of development media projects—and their preservation—over time. Addressing such a constellation involves transgressing methodologically entrenched divisions between political economy and aesthetics, between material infrastructures and affective regimes; reckoning with divergent periodizations across film history and world economics; and situating these within the local specificities of women’s movements and international institutional programs. It also demands attentiveness to the coexistence of multiple, and sometimes competing, understandings of development—each historically, geographically, and ideologically situated.We imagine this special issue as an opening toward a critical dialogue, not only about how such an approach might be enacted in practice but also about the far-reaching ways development paradigms have shaped both our objects of study and the contours of the field itself. The decision to center institutionally sponsored films across all the essays in this issue is deliberate and enables us to highlight institutional critique as a vital methodological imperative within our analytical framework. Created within the frameworks of international organizations, state agencies, or NGOs, these films’ histories make legible the institutional logics that underwrite their production. Yet our critique does not stop at these specific entities. Rather, we argue for a broader interrogation of the political conditions and institutional infrastructures that shape media and knowledge production more generally. This includes contemporary corporations embedded in the digital platform economy, from streaming services to the rapid expansion of AI. Equally critical is a reflexive examination of academia itself, where departments of economics, political science, and centers for development have played a formative role in producing and legitimizing developmentalist theories and policy frameworks. While the humanities and arts have at times offered critical alternatives, they have also frequently mirrored and reinforced many of the same developmentalist assumptions. A feminist analysis of the nexus between development and media must therefore unsettle not only dominant archives but also the institutional and disciplinary foundations of our own scholarly practices.As scholars, we share the complex position of navigating the same tensions between institutional complicity and emancipatory aspiration as many of the media-makers whose work we study. Mirroring our subjects is also the transnational, collective mode of this special issue’s own production as it emerges from an ongoing informal working group we have sustained over several years. While relying on institutional and disciplinary affordances—such as university funding for conferences or access to academic publishing platforms—we have been working toward creating a community that exceeds, and often resists, the prevailing logics of our academic institutions. Our aim has been to create a space for shared inquiry and mutual support that pushes back against disciplinary siloing and technocratic neoliberal assessment modes of both labor and knowledge production—and this certainly extends to our experience collaborating with the journal editors throughout the publication process. Our goal has been to examine both the persistence and variability of developmentalism, understood as what Gustavo Esteva calls a “powerful but fragile semantic constellation,” as a conceptual formation that has historically inspired, legitimized, and mobilized media projects across Asia, Africa, and Latin America.21 And gendered biopolitics, from population control to gender mainstreaming, have remained integral to development policies and media practices, recurring across formats from institutional newsreels to film festivals.We share the conviction that, far beyond the history of nonfiction institutional media, development (as both a broad ideological project and a network of material and institutional practices) and developmentalism (as a set of discourses and theoretical models associated with development) have exerted a far-reaching influence on film and media cultures at large. As such, they must be treated as a major force in shaping global film and media systems and also the many ongoing assumptions behind their critical discourses. The discipline of communication studies was founded on modernization theory governed by Cold War goals of dissemination of Western liberal democracy around the world, while “an area studies framework allowed compartmentalizing Western and non-Western outcomes of technologies that were always claimed to be universal.”22 Despite critique from postcolonial and critical race studies, many of these frameworks have remained foundational for media theory.23 In historical scholarship, as we increasingly move beyond “modernity” as a dominant conceptual anchor, engaging with practices and discourses of development opens more precise analytical pathways. These film and media’s entanglements with the logics of and economic and the associated with as well as their conceptual underdevelopment, and impact in as diverse as and of media aesthetic and paradigms in film and film and funding are developmentalist assumptions to the they to underwrite the narrative and logics of and global media from the structure of the film to the cultures of argue that a examination of the historical entanglements between film and developmentalist aesthetics, modes of as well as infrastructures and critical the and that our contemporary media is a of the historical contours of development as a field of inquiry embedded within a of some of the methodologies by the featured in this special a of this complex history, to the larger at in media, development, and gender all its development a it as an of be with practices as divergent as and in In as we work on this the of the of the USAID the ideological that have the history of international the and of this on the global its a from development as a global practice and as an institutional and which over the has as a with its own media Yet or does not erase the historical impact of these the contradictions they have reflected and over the as the of development several crucial to the economic theories of development initiatives to and through the of the development an international policy framework at from the Global to the of the Global the by the political role of and the of the International the on was challenged by dependency theory and at development as global structural the neoliberal of the the Programs by the and World imposed and as conditions for and forms of assistance became known as the major markers for international development development has moving beyond economic to such as the Human Development and the Development and from international organizations such as the United Nations to a broader network of These frameworks increasingly of and liberal of and with what in many ways to various while the of the to development’s epistemological more scholarship has toward a of its and material the field has to a of and critical by and scholars, which development as a dynamic of conceptual and political to these the studies in this special issue call for sustained analysis in place of In we draw from a of and that in of of gender and to this special issue engage that and from Mexico to contemporary specific local historical of global distinctly feminist methodologies as well as attention to studies that this issue a in the global history of development on and documentary work in Mexico how early women infrastructures as of while US films an early of state and transnational on a outside the Global as the of developmentalist both the and markers of development media, its to the and Latin central grounded in archival also women’s in transnational and the methodological of archives on study of the series to a a digital media not by but by women not as but as subjects and within circuits of neoliberal and the aesthetics and of how development’s has models of to contemporary neoliberal paradigms of and analysis how digital and gender and practices, discourses on and their of these essays the of some of the historical of developmentalist as the question of the role of the state within such on a notion of economic as a and the dominant of development that the state as the for and through infrastructural projects. This understanding of development was shared across both of the as well as in the Third The United and the increasingly mobilized international in the of the modes of international at the postcolonial of policy and ideological These programs were at the expansion of their and of while with the and decolonial of The conceptual between modernization and development that the Cold in of and hierarchies of that long and As an of postcolonial their role as of international aid concern about the of Western development projects. In alternative across the Global South that to structural between and through policies of and In many they were further the global structures. In Latin for example, this approach was through organizations such as the United Nations for Latin and the both developmentalist projects and their have taken many forms historically, and they have and they have been to a of projects, and postcolonial and development has been and in ways and with frequently political While many of these alternative frameworks the embedded in dominant Western they often technocratic and assumptions. gender and gender as for the of to be shaped by This becomes particularly in the media that of development where women frequently a crucial associated with and women were as both the subjects and of their participation in the and labor often as the index of In this study of from the 1970s how women were as of this as these about women’s urban and recurring and of a within the own of and critique that official examination of archives and enables a feminist interrogation of their mobilizing a of the in the of contribution to this issue similarly the of a dynamic within as well as across ideological the of women’s and the media of the and as active in labor and as integral to the technocratic women became of as their labor remained a of and analysis and archival with attention to the specific of and It also transnational that as a and affective a nexus of and practices through which gender, media, and developmentalism one film not as a but as part of the of alongside and work a broader concern of this special media as a of developmentalist projects. The debates the World and which international such as the United Nations and a critical historical for such primarily by postcolonial and of the for the of media and communication infrastructures in as to counter Western The a between and economic how systems of media and reinforced global hierarchies of and in an agenda that supported and alternative media infrastructures across postcolonial contexts, the framework gender as an analytical This “gender in the 1970s by of the Women in Development in relation to The Double its political critique of with its broader to center women in development policy through and This was also in of media, which was shaped by its international reach and audiovisual production and and and Yet, as WID institutional it also to the and of the women’s development programs often by in These were by a of studies, and on and the to of women’s presence and through the of their economic and In this on the filmmaker this history directly by the and of for women by the WID framework during the with and agencies the of and against Women in at the of the neoliberal turn, when institutional media often the only to access and support to projects. The an by this dynamic as of the from the Global South are to engage with the developmentalist assumptions funding models that their similarly the as a in developmentalist media history by the of and centers on the Film a between of and the attention toward the and labor by and work was foundational the of and the of audiovisual aid, as both a of development projects and a critical for their the in this issue argue for a with media, gender, and developmentalism as an field of that is and shaped by feminist and methodologies and that challenge the entanglements between academic knowledge production and and technocratic development And while methodological these dynamics at the structural the of feminist in media and cinema by this the very a