Time Travel in Fiction Rundown

Time Travel in Fiction Rundown

This video is an explanation of how time travel functions in different popular movies, books, & shows – not how it works “under the hood“, but how it causally affects the perspective of characters’ timelines (who has free will? can you change things by going back to the past or forwards into the future?). In particular, I explain Ender’s Game, Planet of the Apes, Harry Potter and the Prisoner of Azkaban, Primer, Bill & Ted’s Excellent Adventure, Back to the Future, Groundhog Day, Looper, the video game “Braid”, and Lifeline.

Zeynep Tufekci: We’re building a dystopia just to make people click on ads

Zeynep Tufekci: We’re building a dystopia just to make people click on ads

We’re building an artificial intelligence-powered dystopia, one click at a time, says techno-sociologist Zeynep Tufekci. In an eye-opening talk, she details how the same algorithms companies like Facebook, Google and Amazon use to get you to click on ads are also used to organize your access to political and social information. And the machines aren’t even the real threat. What we need to understand is how the powerful might use AI to control us — and what we can do in response.

The Enduring Legacy of Zork – MIT Technology Review

The Enduring Legacy of Zork – MIT Technology Review

Zork creator Dave Lebling created this hand-drawn map of the game’s “Great Underground Empire” in the late 1970s. The GUE, as it was known, was full of interesting things to explore, including an ancient temple, a volcano, and a wizard’s workshop.

Horrorfilme: Die Hölle sind wir

Horrorfilme sind nicht nur die übliche Wiederkehr des Verdrängten, sie sind auch eine – sollen wir sagen perverse, auf jeden Fall obskure – Art der Trauerarbeit, was bei Meistern des Genres so pervers und so obskur nicht ist. Und sie sind Ausdruck eines Zorns, der keinen Gegenstand findet. Das eigentliche Monster in allen Horrorfilmen ist immer die Normalität: Es ist die Unfähigkeit zu trauern. Die Verdrängung des Abschieds. Im modernen Horrorfilm muss so viel gelitten und gestorben werden, weil man im realen Leben vom Leiden und vom Sterben so wenig sehen darf.

Quelle: Horrorfilme: Die Hölle sind wir, Georg Seeßlen

OAPEN Library – Star Wars and the History of Transmedia Storytelling

[A]s the product of constantly shifting creative, industrial, and reception practices, the authors in this volume dissect individual moments of crisis, of discovery, and of inspiration that collectively inform the development of transmedia storytelling as a media-industrial practice. In other words, these essays illustrate that “Star Wars” and “transmedia storytelling” must be understood as complex and contradictory terms that are undergoing constant redefinition […] As tempting as it has been to dismiss Star Wars as the top-down expression of cultural and economic power, the many chapters in this book illustrate above all that its rich history results neither from some capitalist master plan nor from the creative genius of any one creative figure. While it may seem as though transmedia franchises such as Star Wars have become all-powerful entertainment empires, these analyses of key moments show how precarious, unpredictable, and strangely unstable the Star Wars storyworld has truly been.

OAPEN Library – Star Wars and the History of Transmedia Storytelling

Alan Moore’s Levitz Grid for all 12 issues of Big Numbers

Alan Moore’s Levitz Grid for all 12 issues of Big Numbers, continued on the n…

Alan Moore’s Levitz Grid for all 12 issues of Big Numbers, continued on the next double page spread! Illustration from „Alan Moore: Storyteller“ by Gary Spencer Millidge.

The Levitz Grid

Paul Levitz probably thought about what a comic book writer does more than any of his contemporaries, or mine, and during his dozen-plus-years stint as writer of The Legion of Super-Heroes, systematized what his predecessors did haphazardly, if at all. Then, as an aid to his own work, he created three versions of the Levitz Grid [] Basically, the procedure is this: The writer has two, three, or even four plots going at once. The main plot—call it Plot A—occupies most of the pages and the characters‘ energies. The secondary plot—Plot B—functions as a subplot. Plot C and Plot D, if any, are given minimum space and attention—a few panels. As Plot A concludes, Plot B is „promoted“; it becomes Plot A, and Plot C becomes Plot B, and so forth. Thus, there is a constant upward plot progression; each plot develops in interest and complexity as the year’s issues appear.

Quelle: Serious comics writing post: how can teh Internet be so jam packed with my fe…

Additionally check out The Levitz Paradigm: „The best imitation of life possible in a work of fiction“

Parting Shot: Jonathan Hickman’s Graphtacular ‘Fantastic Four’ Outline

Parting Shot: Jonathan Hickman’s Graphtacular ‘Fantastic Four’ Outline

[T]he various plotlines as they progress through 30 issues of Fantastic Four.

These Maps Reveal the Hidden Structures of ‚Choose Your Own Adventure‘ Books

In By Balloon to the Sahara, you’re in a balloon and are presented with a choice on the very first page. Storm clouds are on the horizon. Choice 1: “If you act now, you can release gas from the balloon and land before the storm overtakes you.” Choice 2: “Perhaps the storm will pass quickly. Maybe you can ride it out.” That’s just the beginning, since this book has the most decision points—48—of the series.

Quelle: These Maps Reveal the Hidden Structures of ‚Choose Your Own Adventure‘ Books

Das Kulturelle Gedächtnis und die digitalen Geisteswissenschaften

Das Kulturelle Gedächtnis und die digitalen Geisteswissenschaften

Das Kulturelle Gedächtnis, verstanden als generationenübergreifende, interaktionslose Kommunikation über aufgezeichnete kulturelle Äußerungen (Text, Musik, Malerei etc.), kann nur dann dauerhaft, nachvollziehbar und zuverlässig funktionieren, wenn der Kommunikationsfluss durch Gedächtnisinstitutionen organisiert wird. Gedächtnisinstitutionen pflegen das Kulturelle Gedächtnis durch den Aufbau eines Bestandes kultureller Äußerungen, ihre Bewahrung und Vermittlung an gegenwärtige und zukünftige Nutzer. Der Aufbau einer Sammlung entspringt im Analogen einer Idee, folgt einem Plan, entwickelt sich in der Geschichte, wird von Generation zu Generation weitergebaut, ist ortsgebunden, strukturiert und eingehegt. Mit anderen Worten: ermöglicht kulturelle Nachhaltigkeit. Nur, wenn sich kulturelle Nachhaltigkeit auch für über digitale Medien kommunizierte kulturelle Äußerungen gewährleisten lässt, kann auch von einem Funktionieren des Kulturellen Gedächtnisses im Digitalen gesprochen werden. Hierauf sind die digitalen Geisteswissenschaften angewiesen um nachhaltig Innovation und neues Wissen hervorbringen zu können!