Archives for category: Inspiracje

http://muse.jhu.edu/journals/postmodern_culture/v023/23.1.lebovic.html

Abstract

Biopolitical cinema, exemplified by Michael Winterbottom, Roland Emmerich, and others, has questioned the ability of representative democracy to handle a catastrophic situation. Beyond that, biopolitical film has undermined the moral and political legitimacy of the democratic system as a whole. This article examines the formative moments of biopolitics: its affirmative use by German post-Nietzscheans of the 1920s and ‘30s, the French critique during the late 1970s, and the current translation of both to a set of post-9/11 images. All three moments use “cultural crisis” in order to plead for urgent reform, and use biopolitics as a critical concept aimed at a false liberal claim to legitimate power and its abuse.

… Biopolitical critique is also apparent in commentary about recent political film, though left somewhat underdeveloped: as Slavoj Žižek expresses it in his commentary on Cuarón’s Children of Men (2006), the film depicts “a society without history, or, to use another political term, biopolitics. And my god, this film literally is about biopolitics. The basic problem in this society as depicted in the film is literally biopolitics: how to generate, regulate life” (DVD Commentary). In Violence: Six Sideways Reflections, Žižek identifies the philosophical condition for Cuarón’s work: “The infertility Cuaron’s film is about was diagnosed long ago by Friedrich Nietzsche, when he perceived how Western civilization was moving in the direction of the Last Man…. We in the West are the Last Men” (24). …

Nitzan Lebovic

Lehigh University
nil210@lehigh.edu

Creators of Alien Tongues http://news360.com/article/190503724

Nobody wore a ridged rubber forehead, or painted their skin Pandora blue. If there were craggy beards and long locks, these seemed more homage to 1960s counterculture than to “Game of Thrones.” Yet the some 700 people who filled Price Center’s Ballroom B last Friday for “Linguistics Goes to Hollywood” were still clearly fans. Fans of what? Not only of the “Star Trek” franchise, the James Cameron film “Avatar,” and the HBO hit fantasy series based on George R. R. Martin’s novels, but also of inventiveness. And playfulness, and craft.
All of that and more goes into making a constructed language, according to the creators of the Klingon, Na’vi and Dothraki languages—Marc Okrand, Paul Frommer and UC San Diego linguistics alumnus David Peterson, M.A. ’05, respectively—who were the evening’s featured guests.

http://scholar.google.pl/scholar?cluster=10006288268440583917&hl=pl&oi=scholaralrt

Ciało? Cyfrowe? który z tych dwóch elementów powinienem wziąć w cudzysłów?

Moving Imagination: Explorations of gesture and inner movement,  pod redakcją Heleny De Preester

Cały tekst dostępny w podglądzie online na GoogleBooks.

Why the West Loves Sci-Fi and Fantasy: A Cultural Explanation – Christine Folch – The Atlantic.

Why are we so into science fiction and fantasy? Nineteenth-century German sociologist Max Weber had a useful theory about this: The answer may be that we in the West are „disenchanted.” The world in which we live feels explainable, predictable, and boring.

Max Weber 1878

Max Weber 1878 (Photo credit: Wikipedia)

„Odczarowani”, znudzeni? Być może, ale trudno też zaprzeczyć temu, że Zachód jest znacznie bardziej zaawansowany technologicznie. Uwielbiamy powtarzać, że nie można innych kultur wartościować, a sami własną poniżamy? Poza tym, dwie sprawy: 1. Zachód wcale nie uwielbia SF/F, tylko wciąż odsuwa je na margines, 2. czy naprawdę Hollywood stanowi centrum kultury zachodniej?

Rola fikcji w eksperymentach w ramach projektowania, sztuki oraz architektury

This paper offers a typology for understanding design fiction as a new approach in design research. The typology allows design researchers to explain design fictions according to 5 criteria: (1) “What if scenarios” as the basic construal principle of design fiction; (2) the manifestation of critique; (3) design aims; (4) materializations and forms; and (5) the aesthetic of design fictions. The typology is premised on the idea that fiction may integrate with reality in many different ways in design experiments. The explanatory power of the typology is exemplified through the analyses of 6 case projects.

Introduction:
The Good, the Bad, and the No Place
In the summer of 2012, millions of people flooded movie theaters and sat
riveted as the latest Batman movie trilogy came to an end, and as the first installment
of the film version of Katniss EverdeenÕs story played out. The Dark Knight Rises
and The Hunger Games are only two of the many movies that premiered that summer,
but they are part of incredibly popular franchises, especially among teens and young
adults. These films stayed true to their sources, accurately portraying the bleak worlds
of BatmanÕs Gotham City and KatnissÕ Panem. With the popularity explosion of The
Hunger Games trilogy and the continuing longevity of Batman as a vigilante both in
graphic novels and on the movie screen, the magnetism between these dystopian
worlds and their audience is incredibly strong, but why? What makes the
unwelcoming landscapes in not only these series, but in the dystopian genre as a
whole, so appealing? …

See on Scoop.itscience fiction, rhetoric and ideology

New Arthur C Clarke Centre to study Human Imagination. 24 May 2013 — Nalaka Gunawardene. Text and photos by Nalaka Gunawardene In San Diego, California. As a science fiction writer and scientific visionary, Sir Arthur C Clarke was …

See on nalakagunawardene.com

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