Aullidos digitales Revista Qué Pasa

De un tiempo a esta parte he bajado mi voyerismo de Twitter, partiendo por eliminar muchas cuentas que seguía que me generaban más ruido interno que ventanas informativas. Menos es quizás más y eliminé unas ochocientas de un tirón. Algunos de los primeros expulsados fueron aquellos que retuitean otras cuentas de manera compulsiva. No he sido un gran participante de Twitter en el sentido que no debato ni lanzo comentarios (a veces lo uso como una suerte de herramienta de relaciones públicas), pero antes -lo reconozco- me gustaba mirar, seguir a algunos, pelar, exasperarme y sapear. Ya no.

Fuente: Aullidos digitales Revista Qué Pasa


I Hate the Internet by Jarett Kobek review – the best ‘bad novel’ around | Books | The Guardian

This thrillingly funny and vicious anatomy of hi-tech culture and the modern world is filled with killer one-liners

Fuente: I Hate the Internet by Jarett Kobek review – the best ‘bad novel’ around | Books | The Guardian


Worried face: the battle for emoji, the world’s fastest-growing language | Art and design | The Guardian

It started with 176 icons. Now it’s grown to 1,800. But who decides what becomes an emoji? We lift the lid on the California coders who live and breathe smiling cats and banned aubergines

Fuente: Worried face: the battle for emoji, the world’s fastest-growing language | Art and design | 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.


Privacy puts Edward Snowden centre stage at the Donmar | Stage | The Guardian

Privacy puts Edward Snowden centre stage at the Donmar | Stage | The Guardian.

Playwright James Graham and artistic director Josie Rourke had been contemplating a play on the impact of the digital revolution – and then Snowden came along. Luke Harding speaks to them
James Graham and Josie Rourke

Stage secrets … Josie Rourke and James Graham. Photograph: Linda Nylind for the Guardian

Within a few hours of my meeting with playwright James Graham we are following each other on Twitter. This feels appropriate and cosy in 2014: the right level of intimacy for two people who don’t exactly know each other but have a connection. Graham is a fan of Twitter. He has been on it since the 2010 general election. He admits he has “calmed down” in recent years, and no longer feels compelled to tweet every detail of his existence to unknown others (such as “sunsets or dolphins”).

Graham describes himself on his Twitter bio as a writer of “plays and emails”. This understates his success as one of Britain’s most interesting and original young playwrights. This House, his witty political drama set in the whips’ office of 1970s Westminster, transferred from the National’s Cottesloe theatre to the Olivier, following critical acclaim. In the autumn of 2012, he and Josie Rourke, the new artistic director of the Donmar Warehouse, began discussing how the digital age had transformed human behaviour. Was there, they wondered, a way of turning the modern obsession with social media – the minute self-chronicling of everyday lives, to the point where many people even photograph their food – into a theatrical experience?

What followed was a “quite gentle investigative process”. The two spent a week brainstorming in Rourke’s London kitchen. She considered commissioning a work on the Leveson inquiry, only for the National Theatre of Scotland to beat her to it. “I got interested in the technology around Leveson. What is phone hacking? What are the legalities?” Rourke says. Graham, meanwhile, was busy with This House.

Then, last summer, a 29-year-old contractor working for America’s top-secret National Security Agency gave the project an extraordinary dramatic hook. Over the past 10 months, Edward Snowden‘s revelations – based on documents he swiped and leaked to Guardian journalists – have transformed the way we think about the issue of privacy. The man himself is holed up in Moscow. What once seemed fantastical or unreasonably paranoid or bonkers is now leaked fact.

Thanks to Snowden we know the US and UK governments routinely spy on us, hoover up our private data and store it. This omniscient surveillance captures most of what we do online: web searches, email addresses, headers. The intelligence agencies can do amazing things. They can geo-track our movements. They can help themselves to our selfies. From all this you can tell a rich electronic story of someone’s life: joys, sorrows, loves, secrets.

Snowden doesn’t appear as a character in Graham’s new play Privacy, which opened this week at the Donmar. Instead, he is a giant off-stage presence. Graham likens Snowden’s dramatic role in Privacy to that ofMargaret Thatcher and James Callaghan in This House: neither of them actually come on stage; they inform the mood from outside. “I felt the British media focused too much on Snowden, and on his personality and motivations. It’s the content he revealed that really fascinates me,” Graham says.


New TV satire pokes fun at Silicon Valley 'weirdos' | Television & radio | The Observer

New TV satire pokes fun at Silicon Valley ‘weirdos’ | Television & radio | The Observer.

Show parodies software geeks, setting California’s two major industries – film and tech – against each other
Silicon Valley

A scene from HBO’s Silicon Valley.

If the aim of satire is to make its target smart with irritation, a new sitcom about Silicon Valley has hit the bull’s eye. Wealthy hi-tech tycoons, powerful entrepreneurs and geeky engineers are all lampooned without restraint in HBO’s show set in Palo Alto, the global business hub inCalifornia.

The sitcom, called Silicon Valley, is broadcast in America Sunday and will be seen by British audiences this summer on Sky Atlantic, but it has already been hailed by critics as the boldest attempt so far to skewer the absurd side of the influences shaping the modern world.

Last week reporters spotted an angry Elon Musk, founder of tech companies Tesla and SpaceX, criticising its barbed portrayal after a preview screening, and some of those whose careers are parodied have gone so far as to declare war between California’s two major industries – Hollywood and Silicon Valley.

“None of those characters were software engineers,” Musk said, attacking the accuracy of the show. “Software engineers are more helpful, thoughtful, and smarter. They’re weird, but not in the same way.”

The show was created by Mike Judge, the man behind the 1990s cartoon hit Beavis & Butt-head, and the Emmy award-winning King of the Hill, and it tells of the launch of a start-up business, Pied Piper, born almost by accident, as Twitter was, as a side project of another failing IT venture. Actor Thomas Middleditch, star of the American version of The Office, plays Richard, a shy programmer who works at Hooli, a tech company, reminiscent of Google, where slogans such as “It takes change to make change” and “No fear, no failure”are part of the decor.

Just how much pain the show will inflict is already in dispute. Rather as the British Olympic supremo Lord Coe removed the potential sting of the BBC’s satirical sitcom 2012 when he agreed to appear in it, so Eric Schmidt, chairman of Google, makes a guest appearance in Silicon Valley during a party scene in which the boss of a new company climbs on a stage and shouts: “We’re making the world a better place … through constructing elegant hierarchies for maximum code reuse and ostensibility.” Schmidt said he would appear in the scene because “I’ve been to that party”.

Judge, who also made the cult film Office Space, had been planning a television comedy about the Palo Alto world of “geeks” for 14 years but decided that the fruit was now ripe for picking. “There are a lot of people getting rich very quickly now and it has become more of a zeitgeist thing,” he told an audience at a public event in Los Angeles last week.

“If these web developers had been born 100 years ago, or even less, I don’t think they would be the richest people in the world. They would be well-paid engineers or something like that. They are introverted and socially awkward and nobody is telling them ‘no’. It’s kind of perfect for comedy.”


“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.


Leer en tiempo de TICS – El Mostrador

Leer en tiempo de TICS – El Mostrador.


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Periodista. Candidato a Doctor en Filosofía.
Un acierto del historiador del libro francés Roger Chartier, en su reciente visita a nuestro país, es haber puesto la atención sobre lo que él denomina las “prácticas de lectura”: es decir, no sólo investigar sobre el contenido o tema de lo que trata lo leído, sino también aquella materialidad y/o soporte con que se transmite la lectura

De tal modo comprendemos cómo se pasó, desde el siglo XIX al XX, de la lectura “a viva voz” y colectiva, a la lectura personal, y es así como seguramente deberemos adentrarnos en la revolución del libro digital. En efecto, de un tiempo a esta parte, los tablet y los kindel, entre otros dispositivos, han cambiado por completo nuestra percepción de la lectura. El libro ha sido reemplazado por estos equipos de papel digital y, entre otras cosas, son más prácticos ya que pueden guardar una infinidad de libros, que incluso llegan a aventurar una disminución de los costos de edición que la impresión no permitía.