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xirdalium

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hugo strange

xirdalium Posted on Monday, 14th March 2011 by zephyrin_xirdalSunday, 18th March 2012

Professor Hugo Strange
Since the late 1970s, when I first read the story arc ‘Dark Detective I’ (Detective Comics 469-476), aptly named ‘Strange Apparitions’ for a reprint, arch-villain ↑Professor Hugo Strange is my favourite Batman-enemy. ‘Strange Apparitions’ just had everything, the Joker, the Penguin, and with Silver St. Cloud one of the most beautiful spouses Bruce Wayne ever had. Most of the story arc was pencilled by ↑Marshall Rogers (1950-2007), besides ↑Jim Aparo (1932-2005) until today my favourite Batman-penciller. Hilary Goldstein ↑writes at IGN:

There is a common misconception among comic-book readers that Batman books were terrible until Frank Miller came along in the mid-’80s. That’s not true. In fact, the late ’70s were good for the Dark Knight. One of the strongest Detective Comics runs of all time came with Steve Englehart at the helm with both Walter Simonson and later Marshall Rogers handling the pencil work. Batman: Strange Apparitions collects one of my favorite runs of any Batman book and features a definitive moment in Joker lore.

↑Steve Englehart (*1947) himself, who wrote the story arc, ↑says about ‘Dark Detective I’ aka ‘Strange Apparitions:’

From the moment this eight-issue run appeared, it was dubbed the “Definitive Batman.” It’s been reprinted in its entirety twice in English (and often in other languages; the example below is Finnish), and individual stories have appeared four “Greatest” collections. This is not a complete showcase of the reprints by any means.
    This series made The Batman someone an adult could appreciate, introduced his most famous woman, Silver St. Cloud, and showcased his most memorable encounter with the Joker in “The Laughing Fish.” At the same time, it reestablished the dark, pulp roots of the character; I even asked for the panel borders to be thicker, to get more black on the page. It defined a man, a city, and an ambiance. […]
    In short, these eight issues define the modern Batman franchise, and from that, the modern superhero film franchise.

A panel from 'Strange Apparitions' pencilled by Marshall Rogers
Ah, those are the moments when I wish I would have become a comic book artist, as the original masterplan saw it, instead of having turned anthropologist. All the more as today the technical means have empowered the medium of the computergame to lift the interpretation of comic book material to unprecedented heights.
    ‘↑Batman: Arkham Asylum‘ (Rocksteady Studios 2009) already blew my feeling mind back to the 1970s, really. To me B:AA is one of the most perfect Batman-interpretations. The game only has one grave drawback—it isn’t moddable, a problem which surfaces again and again with the owners of big intellectual property franchises. The geeks in the scene managed to change Batman’s dress, for example back to its classic 1970s comics look, but the mod only works with the demo-version, not with the full out-of-the-box game.
    The new trailer [YouTube embedded version below, high definition and download ↑available at gametrailers] for ‘↑Batman: Arkham City‘ (Rocksteady Studios 2011) by Blur Studio reveals that Strange is the mastermind behind the evil ongoings, driving the story of ↵Arkham further. :-)
    Now I am looking very much forward to B:AC, which is slated for release in October—imagine my shock when I first read that it would come for consoles only. Then it would have suffered the same fate as ‘↑Alan Wake,’ which in the end came to the Xbox only, which is an absolute shame. Oh, how I despise you marketing geniusses.

REMEDY ENTERTAINMENT. 2010. Alan Wake [computer game]. Redmond: Microsoft Game Studios.
ROCKSTEADY STUDIOS. 2009. Batman: Arkham Asylum [computer game]. London, Burbank, New York: Eidos Interactive, Warner Bros. Interactive Entertainment, DC Entertainment.
ROCKSTEADY STUDIOS. 2011. Batman: Arkham City [computer game]. Burbank, New York: Warner Bros. Interactive Entertainment, DC Entertainment.

via thread at the CGSociety
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cyberpunk to come

xirdalium Posted on Wednesday, 9th March 2011 by zephyrin_xirdalTuesday, 8th March 2011

Blade Runner spinner over cityscape with famous Geisha-billboard
Well, well, more water on my mills [… love that phrase], regarding my proposition that cyberpunk has become a powerful discourse, is unbroken, and still going strong—scal at ↑cpc and Mr. Roboto at ↑cyberpunk review have gathered news about cyberpunk material coming to the screens. Here’s a roundup:
    Disney does a prequel series to ‘Tron Legacy’, ↑Tron uprising—the animated series. Alcon Entertainment plans to ↑buy the ‘Blade Runner’ intellectual property franchise and to create material based on it on multiple platforms. A postapocalyptical robot-movie called ‘↑Plug‘ is in the making. The ↑remake of ‘Robocop’ has been resurrected. Pages for the ↑movie-adaptation of ‘Akira’ have been leaked to the Net. Sony plans a ↑remake of ‘Total Recall’ [another addition to the ↵pkd motion pictures].
    That’s it from scal’s side, but ↑Mr. Roboto has more [follow the link to the original with all the IMDB-links]:

[…] there’s a lot of movies based on other materials, including numerous remakes of movies like Short Circuit, Scanners, Videodrome, and Brave New World (to be directed by Ridley Scott). Even anime gems are getting live-action makeovers: Be ready for Cowboy Bebop, Technotise, Ghost in the Shell, and Bubblegum Crisis to go from pen-and-ink to flesh-and-blood (and CGI).
    Comics are serious. The wave of comic-book based movies continues, and for cyberpunks some good choices are waiting in the wings. The coming year will see the likes of Y: The Last Man, Aphrodite IX, Ex Machina, and Deathlok make the jump from the comic pages to the big screen.
    It’s in the books. Several novels are slated for 2011 movies, including two from cyberpunk godfather William Gibson. The seminal Neuromancer is on the in development list. That means another change of director, another change of script, another delay… Maybe we should forget Neuromancer for now and concentrate on Pattern Recognition. It’s in active development, and looks like it will be in theaters long before Neuromancer.
    Also in development is How To Survive A Robot Uprising, which is about… something. […]
    Movies to watch for? With all the apparent rehashes, prequels and sequels, TV spin-offs, and what could be best described as Hollywood’s continued loss of originality [the number of remakes and resurrections really is astounding], I have found some movies that I would like to see and review this coming year. Your mileage will vary:
    Real Steel: Hugh Jackman plays Rock ‘Em Sock ‘Em Robots—with real robots! Could be this years KO… literally.
    Fard Ayn: “A passionate look at humankind’s commitment to a dark future. One man is bound by loyalty. One woman is trapped in a technocratic state. The two stories are a dramatic parallel saga of what could be humankind’s dangerous future society.” It’s already been tagged as a cyberpunk movie, but we’ll see if it lives up to it.
    Future Fighters: Mechs in space, boldly going where no one has gone before… except the Macross/Robotech and Gundam franchises.
    Offline: People look to mass-media to escape the reality of a dying Earth, but someone is unwilling to be a good little sheeple.
    Bad Pixels: For women in the future, life is a bitch. But one girl and her homemade synthesizer is going to rock the system.
    Flashback: Once the gleaming jewel of 32nd century Hollywood, Flashback Films now suffers decay due to corporate corruption.
    Deus Ex Machina: Heaven and Hell DO EXIST! The government has made them from VR technology.
    Branded: A “personality model” receives pirated upgrades and is drawn into a world of illegal corporate greed.
    Cold Sea Rising: Another pre-branded “cyberpunk” thriller about a bounty hunter hired to steal emergent technology from an unknown company.

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Posted in motion_pictures | Tagged cyberpunk | 4 Replies

sterling interview

xirdalium Posted on Tuesday, 8th March 2011 by zephyrin_xirdalTuesday, 29th March 2011

Bruce Sterling
Gunhead, a member of ↑cyberpunk review, recently has done an ↑email-interview with ↑Bruce Sterling. The initial theme of the conversation is the close resemblance of contemporary life to cyberpunk fiction. A well-led interview, and quite interesting, imho.

The trend is toward a culture which isn’t even aware that it’s a ‘cyberculture.’ Once everything is ‘cyber,’ nothing is ‘cyber,’ and cyber gets commonplace and boring. (Bruce Sterling in Sterling & Gunhead 2011)

STERLING, BRUCE AND GUNHEAD. 2011. An interview with Bruce Sterling. Cyberpunkreview.com 03 March 2011. Electronic document. Available online: http://www.cyberpunkreview.com/uncategorized/an-interview-with-bruce-sterling-by-gunhead/
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we, robot

xirdalium Posted on Sunday, 6th March 2011 by zephyrin_xirdalWednesday, 16th March 2011

A sexy robot/android/gynoid/cyborg by Hajime Sorayama
About ↑Mark Stephen Meadows I first heard when I still was deep into ‘↑Second Life‘ (SL). His book ‘I, avatar’ (2008) is outstandingly designed—Meadows is a portrait artist and author by profession—and from all physical books on the topic does by far the most justice to SL in terms of visual representation. In terms of content, it until today is the best I read on the issue of ‘the avatar,’ which Meadows does not restrict to the graphical representation of the user-controlled agent in SL. He understands it as a term for all kinds of online manifestation of a human individual’s personality. For example, in his book he also deals with interaction at YouTube—absolutely enlightening. The book as a whole qualifies as ‘experimental ethnography,’ a genre so much asked for since the times of ‘Writing culture’ (1986).
    Now he seems to have done it again, I just heard—here’s the official description of his ‘We, robot’ (2010):

How close to becoming reality are our favorite science fiction robots? And what might be the real-life consequences of their existence? Robotics and artificial intelligence expert (and science fiction fan) Mark Stephen Meadows answers that question with an irresistible blend of hard science, futurist imagination, solid statistics, pop culture, and plenty of humor.
    What exists now? Robots strikingly similar to those in The Terminator, The Jetsons, and 2001: A Space Odyssey. Meadows reveals robots that hunt humans, walk your dog, tidy up the house, invest your money, and campaign for your favorite political candidate. What will we see in the coming decade? Robots just like the ones in Iron Man, Blade Runner, and Neuromancer. Readers will learn about the near-future robots who dodge bullets, love you, and get hurt when you don’t love them back. What about twenty, thirty, even fifty years from now? Creations like those from Star Wars, The Jetsons, Battlestar Galactica, and Avatar. Prepare your kids and grandkids for robots that have animal brains or animal bodies, rule the world, govern your city, and demand equal rights.
    Including full-color illustrations of famous science fiction robots, photos of current real robots, and more, We, Robot is a must for fans of both science fiction and science fact, as well as anyone with a touch (or more) of geekiness in their past or their present.

I do not have the book yet, but R. U. Sirius has done a ↑review/interview with Mark Stephen Meadows, and judging from its contents, it goes well with e.g. my thoughts on ‘↵robots and suicide bombing,’ and might serve as a counterweight to Cosima Wagner’s scholarly, fieldwork-based ‘↵robotopia nipponica.’ And there is one more plus: The cover is by Japanese airbrush artist ↑Hajime Sorayama, at least since his ‘Sexy robot’ (1983) a legend.

CLIFFORD, JAMES, AND GEORGE E. MARCUS (eds.). 1986. Writing culture: The poetics and politics of ethnography. Experiments in Contemporary Anthropology: A school of American research Advanced Seminar. Los Angeles, Berkeley: University of California Press.
MEADOWS, MARK STEPHEN. 2008. I, avatar: The culture and consequences of having a second life. Berkeley: New Riders.
MEADOWS, MARK STEPHEN. 2010. We, robot: Skywalker’s hand, Blade Runners, Iron Man, slutbots, and how fiction became fact. Guilford: Lyons Press.
SORAYAMA, HAJIME. 1983. Sexy robot. Tokyo: Genko-Sha.
via entry at Bruce Sterling’s beyond the beyond
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metropolis budget

xirdalium Posted on Friday, 25th February 2011 by zephyrin_xirdalTuesday, 29th March 2011

Metropolis
All right, I am on my way to proof a point regarding the cyberpunk genre, respectively the discourse which in my view it has become. And Foucault really has me now, as I am creating lists, tables, and stuff for that. In respect to motion pictures variables of interest are budget (correllating with the faith the producing industry had in the project) and gross revenue (correllating with the audience’s interest in the project). At the moment I am concerned with the budget.
    The idea is to make a comparison through time.
    Now, the earliest motion picture I can make out, which fits into the cyberpunk discourse, is ↑Fritz Lang‘s ‘↑Metropolis‘ (1927), produced on a budget of Reichsmark (RM) 5.4 million—but today we have no idea of what that means. For comparison the sum has to be converted into today’s value. In a German wisecrack forum ;-) back in 2005 other people already sank their teeth ↑into the same problem. Their results range from US$ 13.5 million to US$ 205 million. Then there is an ↑article stating that the budget of ‘Metropolis,’ which nearly quadrupled during production, would equal the budget of ‘Pearl Harbor’ (Bay 2001) in today’s currency: US$ 140 million. So, as usual, I did my own calculations instead of asking someone competent.
    ↑In 1926/27 RM 5.3 million equalled US$ 1.26 million. The latter ↑in turn equals US$ 15.7 million in 2011. On the other hand the mean ↑equivalent to RM 1,- (1924-1936) is € 3.97 in 2010. This results in a budget of ‘Metropolis’ of US$ 28.9 million in 2011—nearly twice than in my first calculation. So the range of my results is significant as well, but the overall sum does not skyrocket.
    Anyone competent in the house?

BAY, MICHAEL. 2001. Pearl Harbor [motion picture]. Burbank: Touchstone Pictures.
LANG, FRITZ. 1927. Metropolis [motion picture]. Berlin: Ufa.
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Posted in cinema | Tagged cyberpunk, economics, history | 9 Replies

cfp cyberculture

xirdalium Posted on Monday, 14th February 2011 by zephyrin_xirdalThursday, 11th April 2013

From 14th through 17th September 2011 this year’s installment of the biannual conference of the ↑German Association of Anthropologists (GAA aka DGV) will take place in Vienna, Austria. Since 2005 I organize workshops on ‘things cyber’ at the GAA conferences, this time a workshop titled ‘Cyberculture,’ in accordance with the conference’s overall theme: ‘Wa(h)re “Kultur”? Kulturelles Erbe, Revitalisierung und die Renaissance der Idee von Kultur’ (‘True/commodity “culture?” Cultural heritage, revitalization, and the renaissance of the idea of culture’). As of today the conference website isn’t up yet, only a .pdf with the ↓collected Calls for Papers. As I have invited two guests from English-speaking countries, the whole workshop will be held in English. The abstract of the workshop you’ll find below (in English and in German). In the workshops I organize every presenter gets a slot of 40 minutes alloted. 20 minutes for the presentation, and 20 minutes for q&a and discussion. Of course it is no problem, if the presenter needs a bit more than 20 minutes. That way we do not run into the awkward situation of having to pull a presenter off the dais by force.
    That said I hereby would like to invite everybody interested in presenting at the workshop to send me a proposal. Proposals must comprise no more than 150 words, and have to be sent before 11 March 2011 to me via e-mail: alexander[dot]knorr[at]lmu[dot]de The proposals should be submitted in English, likewise the presentations at the workshop will be held in English.

Cyberculture
During the early 1960s ‘cyberculture’ was created as a political fighting word—supported by fear of the social consequences of the proliferation of complex technology, which accelerated significantly since the postwar period. ‘Cyberculture’ then meant the ‘lifestyle’ of a society affected by cybernetics, the science of communication and control in systems of whatever provenance. The terminus proofed to be ephemeral and was forgotten during the 1970s, together with cybernetics itself. Under the impression of modern technology’s influence on all aspects of life gaining ever more weight on a global scale, anthropologist Arturo Escobar in 1994 sketched a new concept of ‘cyberculture’ and invited our whole profession to belabour the field. But social and cultural anthropology to a certain degree neglected ‘cyberculture,’ just as the concept of ‘culture.’ Instead a multitude of authors, among them so prominent ones like Pierre Lévy, coming from a wide range of academic disciplines, appropriated the term ‘cyberculture.’ Thereby it suffered a bit of an inflation, became a buzzword. But more than ever an anthropological perspective appears promising, which has as its central focus the interrelationships between humans and complex technology. This is because the manifold manifestations of digital electronics and state-of-the-art technology in general decisively co-define our contemporary world. Around the globe these technologies have become parameters of human existence, have become aspects of the ideas and designs of how to cope with this existence, and even of the idea of human itself. A lot of which still has been Science Fiction not too long ago has become Lebenswirklichkeit: Individuals who never meet face-to-face not only collaborate, but are forming friendships lasting a lifetime—interacting via a plethora of Internet services they create new forms of community and society. At the polar circle Inuit precisely find their ways through night and ice by balancing satellite-data with patterns of snowdrift. In subsaharan Africa nearly nobody has a fixed line network connection, but a lot of people possess more than one cellphone. A South-African with legs of carbon-fibre runs the 400 metres so fast that he qualifies for the Olympics. In Japan elderly people do no more want to miss the presence of androids and in the Near East robots search suspects for explosives. Since about a decade the number of anthropological studies belabouring such topics is increasing, giving ample testimony of the fact, that our discipline since long has arrived in the here and now, and that it may well be more relevant than ever. Decidedly focussed on the presence, perspectives which can be subsumed under ‘cyberculture’ promise to generate knowledge and understanding in an anthropological sense. To those perspectives the workshop is dedicated.

Cyberculture
In den frühen 1960er Jahren wurde “cyberculture” in den USA als politischer Kampfbegriff geprägt – getragen von der Furcht vor den sozialen Konsequenzen der seit der Nachkriegszeit sich beschleunigenden Ausbreitung komplexer Technik. Gemeint war der “Lebensstil” einer Gesellschaft, geprägt durch die Kybernetik, der Wissenschaft von Kommunikation und Kontrolle in Systemen jeglicher Provenienz. Der Terminus erwies sich als kurzlebig und geriet, wie die Kybernetik selbst, in den 1970ern in Vergessenheit. Unter dem Eindruck des global zunehmenden Einflusses moderner Technologie auf alle Lebensbereiche skizzierte der Ethnologe Arturo Escobar 1994 ein neues Konzept von “cyberculture” und rief unsere gesamte Profession auf, sich ihr zu widmen. Aber die Ethnologie hat “cyberculture” vernachlässigt und fast aus der Hand gegeben, so wie auch den Kulturbegriff selbst. Dafür hat eine Vielzahl von Autoren, darunter so prominente wie Pierre Lévy, aus unterschiedlichsten akademischen Disziplinen sich den Terminus “cyberculture” angeeignet. Er hat dadurch eine gewisse Inflation erfahren, ist zu einem “buzzword” geworden. Aber mehr denn je erscheint ein ethnologischer Ansatz erfolgversprechend, der nicht nur Praktiken und Artefakte im allgemeinen, sondern ganz konkret die Beziehungen zwischen dem Menschen und komplexer Technologie ins Zentrum rückt, und als Ausgangspunkt benutzt. Denn, die vielfältigen Erscheinungsformen digitaler Elektronik und modernster Technik allgemein bestimmen unsere heutige Welt ganz entscheidend mit. Rund um den Erdball sind sie zu Faktoren des menschlichen Daseins geworden, und zu Aspekten der Vorstellungen und Entwürfe, mit diesem Dasein umzugehen, ja des Menschenbildes selbst. Was vor nicht allzu langer Zeit Science Fiction war, ist Lebenswirklichkeit geworden: Menschen, die sich nie in Fleisch und Blut treffen, arbeiten nicht nur zusammen, sondern knüpfen Freundschaften, die ein Leben lang halten – über eine Vielzahl von Internetdiensten interagierend schöpfen sie neue Formen von Gemeinschaft und Gesellschaft. Am Polarkreis durchmessen Inuit zielgenau Nacht und Eis, indem sie Satellitendaten mit den Mustern der Schneeverwehungen abgleichen. Im subsaharischen Afrika besitzt kaum jemand einen Festnetzanschluss, aber viele mehr als ein Mobiltelefon. Ein Südafrikaner mit Beinen aus Carbonfasern läuft die 400 Meter so schnell, dass er sich für die Olympischen Spiele qualifiziert. In Japan wollen alte Menschen nicht mehr auf die Gegenwart von Androiden verzichten, und im Nahen Osten durchsuchen Roboter Verdächtige nach Sprengstoff. Seit etwa einem Jahrzehnt widmen sich ethnologische Arbeiten verstärkt solchen Thematiken und legen Zeugnis davon ab, dass unsere Wissenschaft längst im Heute angekommen, und vielleicht relevanter denn je ist. Dezidiert auf die Gegenwart bezogen versprechen Perspektiven, die unter “cyberculture” gefasst werden können Erkenntnis und Verstehen im ethnologischen Sinne. Diesen Perspektiven ist der workshop gewidmet.

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computerspielemuseum

xirdalium Posted on Wednesday, 9th February 2011 by zephyrin_xirdalTuesday, 29th March 2011

Of course you can accuse me and my consorts to be computergame-aficionados, but the importance of computergames, not only for culture and society, but for technology and economy as well, meanwhile is ↑percepted more ↑and more. Hence it is a shame that computergames still are somewhat underrepresented museum- and exhibitionwise. Stanford’s ↑Henry Lowood has ↑aptly put it: ‘Since the late 20th century, cultural history includes digital game culture. It is not only the case that the history of this medium will be lost if we do not preserve the history of digital games, but also that we will not be able to provide a complete cultural history of this period.’ Now, after years of nomadism, Berlin’s ‘Computerspielemuseum’ is back, no, not online, but back in a new home in the physical world, featuring a new permanent exhibition:

[The ↑Computerspielemuseum], which was opened in Berlin in 1997, was the world’s first permanent exhibition devoted to digital interactive entertainment culture. Since then, we have documented the development of the medium at over 30 national and international events. Our new permanent exhibition “Computerspiele. Evolution eines Mediums” (“Computer Games. Evolution of a Medium”) opened on the 21st of January, 2011. You will find more than 300 exhibits in an interactive and experiment-friendly environment that conveys the cultural history of computer and video games. You are invited on an entertaining expedition to meet the game players of the 21st century. Numerous rare original exhibits, playable classic games and assorted media productions help you exploring the world of “Homo Ludens Digitalis.”

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pkd motion pictures

xirdalium Posted on Tuesday, 8th February 2011 by zephyrin_xirdalTuesday, 29th March 2011

Philip K. DickMeanwhile ten ↑works of Philip K. Dick have been made into motion pictures—plus one to be released in 2012. Here are the pairs, the novel or short story by PKD, followed by the motion-picture adaptation, in reverse chronological order of the release of the motion pictures.

DICK, PHILIP KINDRED. 1953. The king of the elves. Beyond Fantasy Fiction 1(2) [September 1953]: 142-164.
WILLIAMS, CHRIS. 2012. King of the elves [animated motion picture]. Burbank: Walt Disney Animation Studios.

DICK, PHILIP KINDRED. 1985 [1976]. Radio free Albemuth. Westminster: Arbor House.
SIMON, JOHN ALAN. 2010. Radio free Albemuth [motion picture]. Los Angeles: Utopia Pictures & Television.

DICK, PHILIP KINDRED. 1954. The golden man. If 1(9) [April 1954]: 4-28.
TAMAHORI, LEE. 2007. Next [motion picture]. Hollywood: Paramount Pictures.

DICK, PHILIP KINDRED. 1977. A scanner darkly. New York: Vintage.
LINKLATER, RICHARD. 2006. A scanner darkly [motion picture]. Burbank: Warner Independent Pictures.

DICK, PHILIP KINDRED. 1953. Paycheck. Imagination 4(5) [June 1953]: 78-111.
WOO, JOHN. 2003. Paycheck [motion picture]. Hollywood, Universal City: Paramount Pictures, Dreamworks.

DICK, PHILIP KINDRED. 1953. Impostor. Astounding Science Fiction 51(4) [June 1953]: 58-70.
FLEDER, GARY. 2002. Impostor [motion picture]. New York: Dimension Films.

DICK, PHILIP KINDRED. 1956. The minority report. Fantastic Universe 4(6)[January 1956]: 4-36.
SPIELBERG, STEVEN. 2002. Minority report [motion picture]. Century City: 20th Century Fox.

DICK, PHILIP KINDRED. 1953. Second variety. Space Science Fiction 1(6) [May 1953]: 102-145.
DUGUAY, CHRISTIAN. 1995. Screamers [motion picture]. Culver City: Triumph Films.

DICK, PHILIP KINDRED. 1975. Confessions of a crap artist. Glen Ellen: Enthwistle Books.
BOIVIN, JÉRÔME. 1992. Confessions d’un Barjo [motion picture]. Paris: France 3 cinéma.

DICK, PHILIP KINDRED. 1966. We can remember it for you wholesale. The Magazine of Fantasy and Science Fiction 30(4) [April 1966]: 4-23.
VERHOEVEN, PAUL. 1990. Total Recall [motion picture]. Culver City: Tristar Pictures.

DICK, PHILIP KINDRED. 1968. Do androids dream of electric sheep? New York: Doubleday.
SCOTT, RIDLEY. 1982. Blade Runner [motion picture]. Burbank: Warner Brothers.

Additionally can be mentioned the sequel to ‘Screamers,’ and the short-lived Canadian television series ‘Total Recall 2070:’

WILSON, SHELDON. 2009. Screamers: The hunting [motion picture, direct-to-DVD]. Culver City: Triumph Films.
MONTERASTELLI, ART. 1999. Total Recall 2070 [television series]. Hamilton: OnTV.

And by the way, today is ↑Jules Verne‘s birthday, and the anniversary of the death of ↑Julius Schwartz—both childhood heroes of mine.

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somnolence

xirdalium Posted on Monday, 7th February 2011 by zephyrin_xirdalWednesday, 2nd March 2011

Patrick Kalyn‘s short-film Somnolence (HD at YouTube) goes well with Chris Marker’s La Jetée. /Film says:

/Film reader and aspiring filmmaker Patrick Kalyn has just completed work on a new sci-fi short film Somnolence. Kalyn is an Emmy nominated visual effects animator, who has worked on films such as Avatar, District 9, I, Robot, King Kong, X-Men: The Last Stand, 4: Rise of the Silver Surfer, Jumper, The Water Horse, and television series like Stargate SG-1. Filmed for $10,000 in 2 days in Vancouver, BC using Red Cameras, the short is part of a larger story that Kalyn hopes to develop into a feature film (a treatment is written). Here is the official plot synopsis:
    By 2031, the Earth has exhausted its supply of fossil fuels. With the world on the verge of collapse, nations from around the globe form a coalition called AREN; the ‘Manhattan Project’ of clean self-replenishing energy. When an experiment goes wrong that threatens the world’s existence, David Canterra and a team of elite soldiers are sent on a mission to stop the anomaly. What they find is a mind-bending alternate dimension, and their only way home is through the fabric of time.

via entry at cpc
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watson

xirdalium Posted on Monday, 7th February 2011 by zephyrin_xirdalTuesday, 1st March 2011

More water on my mills, this time from an Op-Ed out of yesterday’s New York Times on Watson, IBM’s AI which will compete in Jeopardy! on Valentine’s day:

It’s remarkable how much of the digital revolution has been driven by games and entertainment. (Powers 2011: WK 10)
    The machine’s one great edge: Watson has no idea that he should be panicking. (Powers 2011: WK 10)
    This raises the question of whether Watson is really answering questions at all or is just noticing statistical correlations in vast amounts of data. But the mere act of building has been a powerful exploration of just what we mean when we talk about knowing. (Powers 2011: WK 10)

POWERS, RICHARD. 2011. What is artificial intelligence? The New York Times 06 February 2011: WK10.

Ain’t it wonderful that I can file a newspaper-article on an AI competing at a television game-show under ‘non-fiction?’

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Cover of 'Cyberanthropology' (Knorr 2011)

You still can find copies of my 2011 book [in German] ↑at amazon. And here are some ↵reviews.


«Ceci, Messieurs, disait-il, c’est du Xirdalium, corps cent mille fois plus radioactif que le radium.»
—Jules & Michel Verne 1908

a blog …
… in the strict sense of the term …

by alexander knorr
aka zephyrin_xirdal

zeph @ Mastodon
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zeph @ YouTube


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