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EDUARDO MANOSTIJERAS (Edward Scissorhands, 1990 University of South Florida Scholar Commons Digital Collection - Science Fiction & Fantasy Digital Collection - Science Fiction & Fantasy Publications 9-1-2006 Qubit 20 Cubit Follow this and additional works at: http://scholarcommons.usf.edu/scifistud_pub Part of the Fiction Commons Scholar Commons Citation Cubit, "Qubit 20 " (2006). Digital Collection - Science Fiction & Fantasy Publications. Paper 20. http://scholarcommons.usf.edu/scifistud_pub/20 This Journal is brought to you for free and open access by the Digital Collection - Science Fiction & Fantasy at Scholar Commons. It has been accepted for inclusion in Digital Collection - Science Fiction & Fantasy Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Para descargar números anteriores de Qubit, visitar http://www.esquina13.co.nr/ Para subscribirte a la revista, escribir a [email protected] 0. Índice: 1. Rudy Rucker. Wikipedia, la enciclopedia libre 2. Máquinas de hackear mentes. Martín Salías 3. Made in Cuba: “O” Haydee Sardiñas 4. Rudy Rucker, amo del espacio y el tiempo. por Fons 5. Cuentos de Houdini. Rudy Rucker 6. Soft Drath. Rudy Rucker 7. Historia del cine ciberpunk. (Capítulo 19) Raúl Aguiar Rudy Rucker de Wikipedia, la enciclopedia libre Rudolf von Bitter Rucker (nacido el 22 de Marzo de 1946 en Louisville, Kentucky) es científico en computadoras y escritor de ciencia ficción, uno de los fundadores del movimiento literario ciberpunk. Escritor de textos de ficción y libros de divulgación científica, es mejor conocido por sus novelas de la tetralogía Ware, cuyas dos primeras (Software y Wetware) recibieron el premio Philip K. Dick. Rucker es un descendiente directo del filósofo Friedrich Hegel. Trabajó en varias universidades hasta establecerse en 1986 en la Universidad de San José, de la cual se retiró en el 2004. Matemático con serios intereses filosóficos, ha escrito The Fourth Dimension; Geometry, Relativity and the Fourth Dimension; e Infinity and the Mind. Princeton University Press publicó una segunda edición de El infinito y la mente en el 2005; la primera edición es citada con gran frecuencia en la literatura académica. Como su "propia alternativa ciberpunk," Rucker ha desarrollado un estilo de escritura que llamó Transrealismo. Como declaró en su ensayo de 1983 "The Transrealist Manifesto," es una ciencia ficción basada en la propia vida del autor y sus percepciones inmediatas mezcladas con elementos fantásticos que simbolizan cambios psicológicos. En muchas de las novelas y cuentos de Rucker se aplican estas ideas. Un ejemplo de trabajo transrealista de Rucker es Saucer Wisdom, una novela en que su protagonisrta es abducido por extraterrestres. Curiosamente, Rucker y sus editores comercializaron este libro como no ficción. Gracias a la financiación de la Alexander von Humboldt Foundation, Rucker impartió matemáticas en la Ruprecht Karl University of Heidelberg, entre 1978-80. Su primera novela transrealista, White Light, fue escrita en Heidelberg. Esta novela está basada en sus experiencias en la Universidad estatal de Nueva York at Geneseo, donde impartió clases de 1972 a 1978. A menudo Rucker usa sus novelas para explorar ideas matemáticas o científicas. En White Light examina el concepto de infinito, mientras que la tetralogía Ware (escrita de 1982 al 2000) es en parte una explicación del uso de la selección natural para desarrollar softwares de computadora (esta noción fue desarrollada en The Hacker and the Ants, escrita en 1994). Sus novelas también se expresan a favor de una filosofía mística que, con un toque de ironía, Rucker ha resumido en el ensayo titulado, "The Central Teachings of Mysticism" (incluida en Seek!, 1999). Su libro más reciente de ensayos, The Lifebox, the Seashell, and the Soul: What Gnarly Computation Taught Me About Ultimate Reality, the Meaning Of Life , and How To Be Happy resume varias de las filosofías que él ha sostenido durante años y termina con la conclusión tentativa de que tal vez pudiéramos concebir el mundo como un gigantesco ordenador, hecho de cómputos, con el comentario final, "Quizás este universo es perfecto." Bibliografía • Tetralogía Ware o Software (1982) o Wetware (1988) o Freeware (1997) o Realware (2000) • Novelas transrealistas o White Light (1980) o Spacetime Donuts (1981) o The Sex Sphere (1983) o The Secret of Life (1985) o The Hacker and the Ants (1994) o Hacker and the Ants, Version 2.0 (2003) • Otras Novelas o Master of Space and Time (1984) o The Hollow Earth (1990) o Spaceland (2002) o As Above, So Below: A Novel of Peter Bruegel (2002) o Frek and the Elixir (2004) • Colecciones de cuentos o The Fifty-Seventh Franz Kafka (1983) o Transreal!, also includes some non-fiction essays (1991) o Gnarl! (2000), complete short stories • Ensayos y divulgación científica o Geometry, Relativity and the Fourth Dimension (1977) o Infinity and the Mind (1982) o The Fourth Dimension (1984) o Mind Tools (1987) o All the Visions (1991), memoir o Saucer Wisdom (1999) o Seek! (1999), collected essays o Software Engineering and Computer Games (2002), textbook o The Lifebox, the Seashell, and the Soul (2005) Máquinas de hackear mentes por Martín Salías El viejo argumento de las computadoras que se rebelan, independizándose de la humanidad, visto desde la ácida óptica de uno de los pioneros del cyberpunk. Rudy Rucker, matemático de profesión, pateador de tableros por vocación, novelista por adicción, fue junto con Bruce Sterling, William Gibson, John Shirley, Lewis Shiner y otros, uno de los cyberpunks originales. Esta es su tercer novela, y la que lo hizo conocido, al ser galardonada con el premio Philip K. Dick. El ambiente en que se desarrolla la novela es sucio, aletargado. En este futuro acá nomás, las cosas siguen empeorando poco a poco, como es costumbre en este subgénero, pero sin embargo, más que brillos de neón y personajes siniestros como Gibson, Rucker nos presenta un futuro desgastado, apagado y sudoroso, donde los personajes son aún más siniestro, no por sus actitudes, sino por su mediocridad. Para hacerlo peor, gran parte de la novela ocurre en una de las peores zonas de la Tierra, el territorio Gimmi (por 'gimme', que es una forma de decir 'dame'), donde viven los 'colgueras', jubilados mantenidos al margen del resto del mundo, a los que apenas se les da una casucha y algo de comida balanceada de vez en cuando. En esta situación vive Anderson Cobb, un precursor de la robótica enjuiciado tras haber propiciado la independencia de los robots en la luna. Cobb, quien ha perdido todo, se dedica a emborracharse esperando el final con el menor grado de lucidez posible. Sin embargo, los robots no se han olvidado de él como el resto del mundo, y se deciden a 'rescatarlo' de su lamentable estado, como parte de una nueva estrategia. El plan, elaborado por los 'grandes autónomos', gigantescos robots fábricas con varios 'remotos', es decir, sub-unidades robots, es el de incrementar sus capacidades chupando el 'software' de seres humanos. Así, en la novela de Rucker la relación tradicional del hacker se ve alterada, ya que esta vez son las computadoras las que intentan obtener conocimiento saqueando la 'CPU' de la gente. Pero otras ideas interesantes en la novela. La forma en que Cobb ha logrado que los robots lleguen a la inteligencia suficiente para rebelarse tiene que ver con una forma artificial de evolución. Para crear las condiciones darwinistas de selección 'natural', incorpora una mecanismo en los robots que los obliga a 'reproducirse', cambiando partes de sus piezas para generar un nuevo vástago (aunque en el caso de los robots no siempre perduran padre e hijo), y a esto agrega cierta capacidad de mutación en sus chips al permitir que los influencien los rayos cósmicos, tal como sucede con la genética animal. Rucker imagina incluso una especie de actividad cuasi sexual entre los robots, que los pone en situaciones amorosas. Ellos se interconectan para procesar juntos un rato. Hay escenas bastante divertidas alrededor de este tema. Y otro punto fuerte de la novela es el método que utilizan los robots en la tierra para conseguir drenar el software humano: una banda de punks conocida como 'Los pequeños bromistas", que se dedican a comer cerebros humanos, con la víctima viva para disfrutarlo. Sta-hi, el coprotagonista de la historia, comienza casi por ser el almuerzo de los muchachos, aunque logra zafar y termina, por los avatares de la trama, yendo con Cobb a la Luna, en un viaje auspiciado por los grandes autónomos, que le ofrecen al viejo la inmortalidad. Sta-hi (de 'stay-hi', 'mantenerse en lo alto' o 'mantenerse drogado'), es un joven taxista demasiado aficionado a las drogas y a las mujeres, que además es el hijo de Mooney, uno de los policías de la zona gimmi. El paisaje de la luna es un poco menos decadente que el de la Tierra, pero no por eso mucho más atractivo. Casi toda la población está integrada por robots, la mayoría de ellos dedicados a mantener en pie una sociedad errática basada en la producción. Una gigantesca área industrial donde los obreros trabajan para conseguir los chips con que engendrarán sus vástagos. Los robots se alimentan de energía solar (muy abundante en la luna) y la baja temperatura de la superficie les permite mantener la velocidad de sus circuitos superconductores sin necesidad de los voluminosos equipos de refrigeración que se requieren en Tierra para este tipo de maquinaria. Allá arriba Cobb se reencontrará con Ralph Números, su primer robot inteligente y el antiguo líder de la revuelta, quien, como él, se ha convertido en un modelo viejo y casi olvidado. El es el encargado de guiarlo hasta su destino, para después volver a la Tierra convertido en inmortal gracias a su software trasplantado a un cuerpo robot. Pero aquí llegamos recién a la mitad de la novela.
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