הילאוטריוה לש היצזילאוזיוה

םיטרס לש תיללכ הריקסו םינויפיא ,עונלוקבו תורפסב רנא'זב ליחתמ ןוידה

תשרה תוברתל הקיז םע תוריצי - קנאפ רבייס

:ןוידל םיאשונ
?תמ קנאפ-רבייסה רנא'ז םאה
(קט-רבייס--קנאפ-רבייס--SF ךילהת וושה ,םיקניל ואר)
הילאוטריוה לש הקיטתסא
(זנטסיסקא תמועל סקירטמ :אמגודל)
םיטרסב תוילאוטריו תויומד
(?תויתימא תויומד הנפלחת ןה םאהו ,CYBORG תמועל)
HONDA - Asimo - robot history
Border Crossing

הרזומה המגמה תא חוכשל ונל לא ,קנאפ-רבייס יטרסב תויומד לע ןוידב
םייגרובייס םירוצי רוציל היטנה תא תאטבמו ,םזילטניירוא-ונכט תארקנה
...הז תא השע ןוסביג םג .(ןאפי/ןיס) חרזמה תונידמ ישנא תומדב
Japanimation and Techno-Orientalism, by Toshiya Ueno
Who is a media activist? by Toshiya Ueno

I think that the stereotype of the Japanese, which I would like to
call "Japanoid" (for 'not really Japanese'), exists neither inside
nor outside Japan. This image functions as the surface or rather the
interface controlling the relation between Japan and the other.
Techno-orientalism is a kind of mirror stage or an image machine
whose effect influences Japanese as well as other people. This mirror
in fact is semi-transparent, or a two-way mirror. It is through this
mirror stage and its cultural apparatus that Western or other people
misuunderstand and fail to recognise an always illusory Japanese
culture, but it is also the mechanism through which Japanese
misunderstand themselves (Toshiya Ueno, 'Japanimation and
Techno-Orientalism' in ISEA 96 Proceedings, Rotterdam, 95)

Cyberpunk Science Fiction: An Overview

Cyberspace, Cyberbodies, Cyberpunk - Cultures of Technological Embodiment

Wearable Computing

Brown University - Bibliography on The Cyborg in Cinema and Anime

Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century

Johnny Mnemonic: Cyberspace and the Displacement of Digital Anxiety in Hollywood Cinema

Representations of Artificial Intelligence in Cinema

VIRTUAL REALITY: The Refiguring of Space, Real, and Subject — by Eric Forman Virtual Space: Cyborg Symbiosis

Cyberpunk is dead

Cyberpunk and Cybertech

רנא'זה ןמ םיטרסב ,תושק רתויה תויודדומתהה תחא
ילאוזיו ןפואב תומדל ךרוצה הניה ,קנאפ-רבייס לש
לא םישנא םירבחתמ דציכ ,סייפס-רבייסה הארנ דציכ
.םש םהשכ םישוע םה ךיאו המ ,סייפס-=רבייסה
,שדח ללח לש הריוא רוציל םיחילצמ םימעפל םא םג
,תיעוצקמה ןיעלש ירה ,הנוכמל םדאה ןיב םישדח םיסחי לש
ךרוצה רכינ רמולכ ,"שוקשק" תובורק םיתיעל הארנ הז
…הלש הימדה רוציל ידכ ,תיגולונכטה תמאה תא תוועל
םהב ואצמש ,םירקאה ידי לע ופסאנ ,הפצנ םהב םיאבה םיעטקה
.יגולואדיא וא ינכט ,ילאוזיו ,םגפ םושמ
קנאפרבייס יטרס יעטק לש היפצה תרגסמב
תומלועה תא םימדמ םהש ןפואב תוננובתהו
סקירטמ טרסה ןיב האוושה ךורענ ,םיילאוטריוה
ותוא לע םייונב ךא ,הזמ הז ירמגל םינושה ,זנטסיסקאו
:הלאשה התוא תא םילאושו ,ןויערה
?ילאוטריוה םלועה ליחתמו יתימאה םלועה רמגנ ןכיה
?אצמנ ינא םהמ הזיאב עדוי ינא דציכ

Postmodern themes in film and video

"Baudrillard and Hollywood: subverting the mechanism of control and The Matrix"
an essay by Jim Rovira.

paranoia - 50's 90's - existenz - matrix

virtual reality: The Matrix and eXistenZ -
how does the real virtual reality of GameWorks compare to the fake virtual reality of Hollywood?

Wired - The Matrix: A Cyberpunk Triumph

Today's science-fiction movies reflect the more complex world we live in

בד ןב באוי ר"ד - זנטסיסקא טרסב טרופמ ןויד

SUPERBEE SPIX COLA 139 KOOL GUY CRAZY CROSS 136 means nothing, it is not even a proper name, but a symbolic matriculation number whose function it is to derail the common system of designations. Such terms are not at all original, they all come from comic strips where they were imprisoned in fiction. They blasted their way out however, so as to nurst into reality
like a scream, an interjection, an anti-discourse, as the waste of all syntactic, poetic and political development, as the smallest radical element that cannot be caught by an organised discourse. Invincible due to their own poverty, they resist every interpretation and every connotation, no longer denoting anyone or anything. In this way, with neither connotation nor denotation, they escape the principle of signification and, as empty signifiers, erupt into the sphere of the full signs of the city, dissolvingit on contact (Jean Baudrillard, Symbolic Exchange and Death, 79)

As for the city, whose renown had spread as far as the Ganges, it was some nine centuries since the immortals had razed it. With the relics of its ruins they erected, on the same place, the mad city I had traversed: a kind of parody or inversion and also a temple of the irrational gods who govern the world and of whom we know nothing, save that they do not resemble man.
This establishment was the last symbol to which the immortals condescended; it marks a stage at which, judging that all undertakings are in vain, they determined to live in thought, in pure speculation. They erected their structure, forgot it and went to dwell in the caves. Absorbed in thought, they hardly perceived the physical world. (Jorge Luis Borges, 'The Immortal'
in Labyrinths, Penguin, 1970, 144).

The ultimate V[irtual] R[eality] is a philosophical experience, probably an experience of the sublime or awesome. The sublime, as Kant defined it, is the spine-tingling chill that comes from the realization of how small our finite perceptions are in the face of the infinity of possible, virtual worlds we may settle into and inhabit. The final point of a virtual world is to dissolve the constraints of the anchored world so that we can lift anchor -- not to drift aimlessly without point, but to explore anchorage in ever new places and, perhaps, find our way back to experience the most primitive and powerful alternative embedded in the question posed by Leibniz: Why is
there anything at all rather than nothing? (Michael Heim, The Metaphysics of Virtual Reality, 137).

Computer games as interactive cinema
I'm certain the film Groundhog Day was made by computer game players - it perfectly captures the "oh no, not again" exasperation of playing the same sequence over and over, again and again, until you get everything right.