time machine cuba

  Within every human individual there is a personal eclectic conglomeration of ambiences and narrative content built from a lifetime of experience, assimilating information, and digesting popular culture. When this conglomerations are shared by a group of people, we deal with the metaphorical and symbolical web which we call ‘culture’. The latter is constituted, built and rebuilt by ever-changing, interlocking feedback loops of the associative kind. William Gibson not only “has tapped right into our collective cultural mainline”, but delivers a personal account of how ‘culture’ is generated within the individual. Here’s a quote from his essay ↑time machine cuba—I … Continue reading

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animac

  The picture above is a “photo montage featuring a dancer with body mounted sensors controlling real-time animation on the ANIMAC, 1962, Denver.”—another pre-cyberpunk cyberpunk-image. Weird coincidence—provoked by my entries on Tron and the interaction with SFAM, I remembered that there was a student-project in gamedesign which culminated in writing a full-fledged 3D-engine. The final product was a racing-game based on the solar sailor seen in the movie Tron. Unfortunately I couldn’t find anything about it on my HDD, so I went on searching the Internet. During the search I stumbled over ↑A Critical History of Computer Graphics and Animation, … Continue reading

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lightcycle

  SFAM ↵reacted at the speed of light, and moved his ↑review of the 1982 movie Tron up at ↑cyberpunkreview. And as I already mused on the ↵recycling of cybercultural topoi … if you are more deeply interested in the computergame ↑Tron 2.0, have a look at ↑Gamasutra’s ↑Postmortem: Monolith’s TRON 2.0 by Frank Rooke. Here are two quotes from it:  From the start, it didn’t take long for many of us at Monolith to recognize that a TRON project was a once-in-a-lifetime opportunity, not simply because we believed the film would lend itself to great gameplay, but also because … Continue reading

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