Rashida Jones, la mujer que quiere acabar con el porno… tal y como lo conocemos – El Mostrador

“La tecnología ha hecho que el porno se vuelva mainstream, parte de la cultura popular”, apunta la actriz y productora.Un cambio que está propiciando que, por ejemplo, los niños accedan cada vez antes a este tipo de contenidos.

Fuente: Rashida Jones, la mujer que quiere acabar con el porno… tal y como lo conocemos – El Mostrador


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


Lonelygirl15: how one mysterious vlogger changed the internet | Technology | The Guardian

Bree was a funny, friendly 16-year-old video blogger with a strange family. But all was not what it seemed. Ten years on, we revisit YouTube’s first viral sensation

Fuente: Lonelygirl15: how one mysterious vlogger changed the internet | 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.


The internet has changed everything – and nothing | Deborah Orr | Comment is free | The Guardian

The internet has changed everything – and nothing | Deborah Orr | Comment is free | The Guardian.

In the real world people still torture and kill each other, all that’s changed is that they post it online

Teh Internet Is Serious at the Royal Court in London
How did we get here? … Teh Internet Is Serious at the Royal Court in London. Photograph: Tristram Kenton for the Guardian

Who saw it coming – a future that reanimated a dystopian past? Who could have believed, in the 1960s, that half a century on from Harold Wilson’s speech about the “white heat of technology”, young men in Britain would be looking at public beheadings on their laptops and, liking what they saw, resolving to join a crusade in the Middle East, a jihad against the infidel? Not me, that’s for sure.

In the 1960s, in our family, a telephone was something possessed by pathetic show-offs with more money than sense. We got along just fine without one. Now, I am indignant when my iPhone says “No service” or “Not delivered”. I am contemptuous of patches of retrograde air, air that is not crammed with all the information in the world, all of it sitting there patiently waiting for the few keystrokes that might summon it.

How did I get from there to here? I have only the vaguest idea. It all happened so fast – so fast that I do not know which of two things to be amazed at. Should I be amazed that information technology has changed the world so much? Or should I be amazed that it has changed the world so little?

I went to the theatre this week. Lots of people do. It has never been more popular. This play, Teh Internet Is Serious Business, was at the Royal CourtIts author, Tim Price, told the story of the defunct hacking group LulzSec and offered a dramatic interpretation of cyberspace in the process. What a strange thing – that this ancient artform should be recruited to animate life behind a screen. What a strange thing anyway, that in a world full of people with phones clamped to their ears, there are flocks of folk turning up at one of the increasingly few places where using a phone is seen as an inexcusable solecism. At the theatre, in the 21st century, one stands astride the old Elizabethans and the new.


“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.