Porn as sex education: a cultural influence we can no longer ignore | Maree Crabbe | Opinion | The Guardian

Not only does pornography commonly portray a particularly concentrated and toxic version of gender inequality, it suggests that it is sexy

Fuente: Porn as sex education: a cultural influence we can no longer ignore | Maree Crabbe | Opinion | The Guardian


Las variables que detectó Netflix para clasificar a los adictos a las series – El Mostrador

La compañía dio a conocer recientemente su “Índice de Maratones” que determinó cuáles son los géneros que llevan a los espectadores a “devorar” todos los capítulos de un programa en sólo pocos días, y los que, por el contrario, los televidentes prefieren “saborear” durante un período de tiempo más prolongado.

Fuente: Las variables que detectó Netflix para clasificar a los adictos a las series – El Mostrador


Your kids want to make Minecraft YouTube videos – but should you let them? | Technology | The Guardian

Don’t put your daughter on the stage, Mrs Worthington. But in 2016, what if the stage is YouTube, and your daughter (or son) is demanding to be put on it, playing Minecraft?That’s the dilemma facing a growing number of parents, whose children aren’t just watching YouTube Minecraft channels like The Diamond Minecart, Stampy and CaptainSparklez – they want to follow in their blocky footsteps.

Fuente: Your kids want to make Minecraft YouTube videos – but should you let them? | Technology | The Guardian


I know who you Skyped last summer: how Hollywood plays on our darkest digital fears | Film | The Guardian

I know who you Skyped last summer: how Hollywood plays on our darkest digital fears | Film | The Guardian.

Hit horror Unfriended takes place entirely on social media and computer screens. So if the genre really is a barometer for the anxieties of an age, what does that say about the world we now live in?

Unfriended … scream grabs. Unfriended … scream grabs. Photograph: AP

‘Whatever you do, don’t fall asleep,” cautioned the tagline for A Nightmare on Elm Street back in 1984. Thirty years on, having your dreams interrupted by some old codger with a pair of scissors is the least of your worries. These days, you can’t even open your laptop.

More than any other genre, horror acts as a barometer on exterior fears. The bogeymen of our times are stumbling ciphers for outside concerns. In the 50s,Invasion of the Body Snatchers fretted about McCarthyism. In the 80s, The Thingriffed horrifically on the emerging Aids epidemic (watch that blood-test scene again). And post-9/11, the torture-porn subgenre, spearheaded by Saw andHostel, placed viewers in the position of prisoners, held below ground, off-radar, subjected to dreadful indignities.

Last weekend saw the emergence of a new cycle of horror into the mainstream.Unfriended opened in the US with $16m at the box office (making it the third-biggest film in the charts). On the surface, its plot seems hopelessly generic. A girl is driven to suicide and her vengeful ghost haunts the teens responsible. So far, so similar to every other sleepover shocker. But the twist here is that the entire film unfolds on the main character’s computer screen. Conversations happen on webcam, exposition via Facebook messenger and plot points are revealed on YouTube. It’s “I know who you Skyped last summer”, made to make you go omg wtaf.


My year of video game sex | Technology | theguardian.com

My year of video game sex | Technology | theguardian.com.

From iPad orgasm simulators to strip tease puzzlers, sex in video games takes shape in surprising ways

How Do You Do It
How Do You Do It – a game about discovering sex via dolls

I’ve spunked a heck of a lot of time on video games in the past few years. However, before I started researching the column affectionately titled “S.EXE” at RockPaperShotgun I had never thought: “This game is a bit erotic.” Games are not really known for their ability to articulate anything with less than the rhetorical power of a brick through a dollhouse, never mind being able to convey eroticism, innuendo or subtext.

And yet here I am, a few months down the line, and I’ve learned quite a lot about how human bodies might relate to each other, just from writing about how sex and relationships are approached through the humble medium of the “video” “game”. They can convey subtext and eroticism and gender politics and attachment just as well as almost anything else.

Fingle, for example, is a surprisingly intimate iPad game where you rhythmically rub your fingers against another person’s to complete fingertip obstacle courses. In Japanese “otome” dating games you get to know your suitor intimately before they will even let you kiss or “win” them, illuminating many interesting things about Japanese culture.

Recently I interviewed the game designers Auriea Harvey and Michaël Samyn, who met and cybersexed via an online art commune in the early 90s. They began making sexy digital art together. They recently released the award-winning Luxuria Superbia on PC and iPad, which is an abstract game you touch in different ways until it explodes with colour and movement. It’s not a subtle metaphor, but it’s executed with taste and sensitivity, a nod and a wink. It transmits the idea that sex might in fact be communication, about a multitude of touches, sensations and responses rather than “bash A to win”.


“Ella”: El páramo amoroso de la ciudad virtual, según Spike Jonze

“Ella”: El páramo amoroso de la ciudad virtual, según Spike Jonze.

La cinta que derrotó a Blue Jasmine de Woody Allen, en el reciente cónclave de la Academia, es una lúcida y conmovedora historia, cuyo sencillo, pero bien armado y contundente libreto, se basa en la soledad afectiva y en la incapacidad de comunicarse que prevalecen como las características esenciales de las relaciones humanas al interior de la urbe en la era del internet.


Los corazones deshechos, al medio de la indiferencia masiva de la posmodernidad, se aprecian en el argumento favorito del director estadounidense Spike Jonze (1969), a fin de urdir la temática de sus sofisticados filmes de gran duración: exóticos motivos que escoge valiéndose de pinzas.


En las redes de las series | Sociedad | EL PAÍS

En las redes de las series | Sociedad | EL PAÍS.


Una imagen de ‘Juego de tronos’.

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El empeño de Carrie Mathison en Homeland, el misterioso Don Draper en Mad Men, la brutalidad de Walter White en Breaking Bad, los sobresaltos de Juego de tronos, el embrollo de The Wire… Con la eclosión en la última década de las llamadas series de culto y el consumo masivo de ficción por Internet, revive un producto que veía envejecer a sus espectadores y llegaba cada vez menos al público joven.

Desde piezas de 20 minutos en una comedia de situación como FriendsLos Simpson hasta la pequeña película de una hora que es cada episodio de Los Soprano, cada público busca su título. Y, cada vez más, combina varios que consume de manera periódica en televisión o engulle en la Red. Alberto Caballero, guionista de La que se avecina, cree que la ficción es “terapéuticamente necesaria”. Para Mariano Bucero, psicólogo experto en la construcción de personajes, las series son una manera de alimentar “el psicólogo que llevamos dentro porque todos tenemos la necesidad de especular con las situaciones que viven los demás y la ficción es un espacio infinito para hacerlo”.