Enlaces almacenados durante esta semana en el repositorio de enlaces de entramado.net
- Band releases album as Linux kernel module
- Dark Market : Trade is not a crime [Attack Surface]
- BitSat y el desarrollo de sistemas de comunicaciones de bajo coste mediante donación
- Meet Germany's response to neo-Nazis: The German Apples Front [Israel Jewish Scene, Ynetnews]
- A20-OLinuXino-MICRO – Open Source Hardware Board
- El Guggenheim y la propiedad intelectual [Kulturaabierta / ElDiario]
Y de como la "propiedad intelectual" sirve para controlar unilateralmente la visión de ciudad que "los potentados" quieren transmitir a los ciudadanos, pero sobretodo a turistas e inversores
- Qué seguros necesita tu empresa | Creacion de Empresas y Emprendedores
- Primavera de Filippi: Ethereum: Freenet or Skynet ? [Berkman Center]
- Lo viejo se vuelve nuevo: la dificultad para regular la "sharing economy" [Boston Bar Journal]
- Comunidades Autónomas: Una recuperación a dos velocidades | Economía | Cinco Días
- Al trabajo, en transporte público y gratis
- The "Yelp Of Weed": Leafly And Other Marijuana Startups Hope To Gain As Feds Ease Up On Pot [Fast Company]
- Soviet Space Propaganda Posters [Retronaut]
- Entrevista a William Gibson [The Paris Review]
What’s wrong with cyberpunk?
A snappy label and a manifesto would have been two of the very last things on my own career want list. That label enabled mainstream science fiction to safely assimilate our dissident influence, such as it was. Cyberpunk could then be embraced and given prizes and patted on the head, and genre science fiction could continue unchanged.
"I met Ridley Scott years later, maybe a decade or more after Blade Runner was released. I told him what Neuromancer was made of, and he had basically the same list of ingredients for Blade Runner. One of the most powerful ingredients was French adult comic books and their particular brand of Orientalia—the sort of thing that Heavy Metal magazine began translating in the United States.
But the simplest and most radical thing that Ridley Scott did in Blade Runner was to put urban archaeology in every frame. It hadn’t been obvious to mainstream American science fiction that cities are like compost heaps—just layers and layers of stuff. In cities, the past and the present and the future can all be totally adjacent. In Europe, that’s just life—it’s not science fiction, it’s not fantasy. But in American science fiction, the city in the future was always brand-new, every square inch of it."
Having assumed that there were no longer physical backwaters in which new bohemias could spawn and be nurtured, I was intrigued by the idea and the very evident possibility that in the post-geographic Internet simply having a topic of sufficient obscurity and sufficient obsessive interest to a number of geographically diverse people could replicate the birth of a bohemia.
When I started writing about the footage, I don’t think I had ever seen a novel in which anybody had had a real emotional life unfolding on a listserv, but I knew that millions of people around the world were living parts of their emotional lives in those places—and moreover that the Internet was basically built by those people! They were meeting one another and having affairs and getting married and doing everything in odd special-interest communities on the Internet. Part of my interest in the footage was simply trying to rise to the challenge of naturalism.