Science Fiction, Steampunk, Cyberpunk
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BLADE RUNNER 2049 “I Can Only Make So Many.” – Niander Wallace REPLICANT SPRING ROLLS
BLADE RUNNER 2049 “I can only make so many.” – Niander Wallace REPLICANT SPRING ROLLS INGREDIENTS • 1/2 lb. shrimp Dipping Sauce: • 1/2 lb. pork tenderloin • 2 tbsp. oil • Green leaf lettuce • 2 tbsp. minced garlic • Mint & cilantro leaves • 8 tbsp. hoisin sauce • Chives • 2-3 tbsp. smooth peanut butter • Carrot cut into very thin batons • 1 cup water • Rice paper — banh trang • Sriracha • Rice vermicelli — the starchless variety • Peanuts • 1 tsp salt • 1 tsp sugar TECHNICOLOR | MPC FILM INSTRUCTIONS • Cook pork in water, salt and sugar until no longer pink in center. Remove from water and allow to cool completely. • Clean and cook shrimp in boiling salt water. Remove shells and any remaining veins. Split in half along body and slice pork very thinly. Boil water for noodles. • Cook noodles for 8 mins plunge into cold water to stop the cooking. Drain and set aside. • Wash vegetables and spin dry. • Put warm water in a plate and dip rice paper. Approx. 5-10 seconds. Removed slightly before desired softness so you can handle it. Layer ingredients starting with lettuce and mint leaves and ending with shrimp and carrot batons. Tuck sides in and roll tightly. Dipping Sauce: • Cook minced garlic until fragrant. Add remaining ingredients and bring to boil. Remove from heat and garnish with chopped peanuts and cilantro. BLADE RUNNER 2049 “Things were simpler then.” – Agent K DECKARD’S FAVORITE SPICY THAI NOODLES INGREDIENTS • 1 lb. rice noodles • 1/2 cup low sodium soy sauce • 2 tbsp. olive oil • 1 tsp sriracha (or to taste) • 2 eggs lightly beaten • 2 inches fresh ginger grated • 1/2 tbsp. -
Teen Tech Week Book List
Leviathan by Scott Westerfeld YA FIC Westerfeld In an alternate 1914 Europe, fifteen-year- old Austrian Prince Alek, on the run from the Clanker Powers who are attempting to take over the globe using mechanical ma- chinery, forms an uneasy alliance with Deryn who, disguised as a boy to join the British Air Service, is learning to fly genet- ically-engineered beasts. (1st in Leviathan Series) Teen Tech Find us, like us, follow us! Week Book List Malverne Public STEAMPUNK Behemoth by Scott Westerfeld Library Youth Service YA FIC Westerfeld Continues the story of Austrian Prince Alek who, in an alternate 1914 Europe, eludes the Germans by traveling in the Leviathan to Constantinople, where he faces a @MalvernePL whole new kind of genetically-engineered warships. (2nd in Leviathan Series) Goliath by Scott Westerfeld YA FIC Westerfeld Malverne Public Library Alek and Deryn encounter obstacles on 61 St. Thomas Place February 2014 the last leg of their round-the-world quest Malverne, NY 11565 to end World War I, reclaim Alek's throne (516) 599-0750 as prince of Austria, and finally fall in love. Malvernelibrary.org (3rd in Leviathan Series) The Unnaturalists by Tiffany Trent YA FIC Trent Steampunk! An Anthology of Fantastically Vespa Nyx wants nothing more than to spend Rich and Strange Stories edited by Kelly Link and Gavin J. Grant the rest of her life cataloging Unnatural crea- YA SS Steampunk tures in her father's museum, but as she gets A collection of fourteen fantasy stories by older, the requirement to become a lady and well-known authors, set in the age of steam find a husband is looming large over her. -
Ominous Faultlines in a World Gone Wrong: Courmayeur Noir in Festival Randy Malamud
Ominous Faultlines in a World Gone Wrong: Courmayeur Noir In Festival Randy Malamud In the sublime shadows of the Italian Alps, Courmayeur Confidential, Mulholland Drive, The Dark Knight trilogy), Noir In Festival’s 23-year run suggests America’s monop- hyper-noir (even ‘noirer’ than noir! Sin City, Django Un- 1 oly on this dark cinematic tradition may be on the wane. chained), and tech noir (The Matrix, cyberpunk) it remained The roots of film noir wind broadly through the geogra- a made-in-America commodity. phy of film history. One assumes it’s American to the core: Courmayeur’s 2013 program proved that contemporary Humphrey Bogart, Orson Welles, Dashiell Hammett. But noir, like anything poised to thrive nowadays, is indubita- au contraire, the term itself (obviously) emanates from bly global. Its December event featured Hong Kong film- a Gallic sensibility: French critic Nino Frank planted the maker Johnny To’s wonderfully macabre comedy, Blind flag when he coined ‘‘film noir’’ in 1946. He was discussing Detective (with the funniest crime reenactment scenes American films, but still: it took a Frenchman to appreci- ever); Erik Matti’s Filipino killer-thriller On the Job; and 2 ate them. Or maybe the genre is German, growing out Argentinian Lucı´a Puenzo’s resonantly disturbing Wakol- of Weimar expressionism, strassenfilm (street stories), da, an adaptation of her own novel about Josef Mengele’s 3 Lang’s M. 1960 refuge in a remote Patagonian Naziphile community. In fact, film noir is a hybrid which began to flourish in The Black Lion jury award went to Denis Villeneuve’s 1940s Hollywood, but was molded by displaced Europeans Enemy, a Canadian production adapted from Jose´ Sarama- (Billy Wilder, Alfred Hitchcock, Otto Preminger) and go’s Portuguese novel The Double (and with a bona fide keenly inflected by their continental aesthetic and philo- binational spirit). -
New Directions in Popular Fiction
NEW DIRECTIONS IN POPULAR FICTION Genre, Distribution, Reproduction Edited by KEN GELDER New Directions in Popular Fiction Ken Gelder Editor New Directions in Popular Fiction Genre, Distribution, Reproduction Editor Ken Gelder University of Melbourne Parkville , Australia ISBN 978-1-137-52345-7 ISBN 978-1-137-52346-4 (eBook) DOI 10.1057/978-1-137-52346-4 Library of Congress Control Number: 2016956660 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
2011 Steampunk
2011 Steampunk The age of steam - what discoveries it brings forth! What riches in knowledge and science mankind has attained through the march of progress! We marvel at the potential of the atom, and cower at the power of our machinery. And what of our triumphs? What of the work of Tesla, Watt, Faraday and the Curies? What once was the realm of magicians now becomes the realm of science! What wonders might yet spring forth as we delve deeper and deeper into the magia et mysterium of the world of STEAMPUNK! DO YOU DARE TO LOOK UPON THE VISAGE OF THE UNKNOWN? This year at Clementine Productions’ STEAMPUNK IV event, we do not simply aim to look at what lies on the surface of the wonder that scientific arts have delivered, but to delve deeper, into the possibilities to be found in both the uncanny and the academy! There are those who claim to speak with spirits through machines; others yet who claim to have photographed the immaterial! Is it so hard to believe? We have just unlocked the power of the x-ray and the radiowave. There are those who say that invisibility, teleportation, astral projection and psychic enhancements are lurking but around the corner, Model: Ivana. Photo: Tarik Carroll. Stylist: Berít New York. Jewelry: Dope Designs.Makeup: Jarrett Brandon. Jewelry: Carroll. Stylist: Berít New York. Model: Ivana. Photo: Tarik awaiting the next intrepid scientist who will uncover them! This year we take inspiration from such works as Tim Powers’s Infernal Contraptions and Christopher Priest’s The Prestige. -
Network Aesthetics
Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor ___________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor __________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Patrick Jagoda 2010 Abstract Following World War II, the network emerged as both a major material structure and one of the most ubiquitous metaphors of the globalizing world. Over subsequent decades, scientists and social scientists increasingly applied the language of interconnection to such diverse collective forms as computer webs, terrorist networks, economic systems, and disease ecologies. The prehistory of network discourse can be -
William Gibson Fonds
William Gibson fonds Compiled by Christopher Hives (1993) University of British Columbia Archives Table of Contents Fonds Description o Title / Dates of Creation / Physical Description o Biographical Sketch o Scope and Content o Notes File List Catalogue entry (UBC Library catalogue) Fonds Description William Gibson fonds. - 1983-1993. 65 cm of textual materials Biographical Sketch William Gibson is generally recognized as the most important science fiction writer to emerge in the 1980s. His first novel, Neuromancer, is the first novel ever to win the Hugo, Nebula and Philip K. Dick awards. Neuromancer, which has been considered to be one of the influential science fiction novels written in the last twenty-five years, inspired a whole new genre in science fiction writing referred to as "cyberpunk". Gibson was born in 1948 in Conway, South Carolina. He moved to Toronto in the late 1960s and then to Vancouver in the early 1970s. Gibson studied English at the University of British Columbia. He began writing science fiction short stories while at UBC. In 1979 Gibson wrote "Johnny Mnemonic" which was published in Omni magazine. An editor at Ace books encouraged him to try writing a novel. This novel would become Neuromancer which was published in 1984. After Neuromancer, Gibson wrote Count Zero (1986), Mona Lisa Overdrive (1988), and Virtual Light (1993). He collaborated with Bruce Sterling in writing The Difference Engine (1990). Gibson has also published numerous short stories, many of which appeared in a collection of his work, Burning Chrome (1986). Scope and Content Fonds consists of typescript manuscripts and copy-edited, galley or page proof versions of all five of Gibson's novels (to 1993) as well as several short stories. -
Richard S. Wheeler
FORGE BOOKS JUNE 2017 LEAD FICTION Eric Van Lustbader Any Minute Now From the New York Times bestselling author of the Jason Bourne series Red Rover--the blackest of black ops teams--is betrayed during a top-priority mission to capture and interrogate a mysterious Saudi terrorist. One of their own is killed; the remaining two barely get home alive. Then, without warning or explanation, the team is disbanded. Greg Whitman and Felix Orteño are left adrift in a world full of deathly shadows, blind alleys, and unanswerable questions. They hook up with Charlize Daou, a brilliant, wildly talented arms expert whose past is entangled with Whit's. Though Charlie grapples with damage of her own, she becomes their new center, their moral compass, and their reason for resurrecting Red Rover. ON-SALE DATE: 6/27/2017 The new Red Rover secretly sets out to find the protected Saudi terrorist, ISBN-13: 9780765385536 the first step in a perilous journey into the heart of a vast conspiracy that involves the NSA, a cabal of immensely wealthy mystics known as the EBOOK ISBN: 9780765385529 Alchemists, and an ageless visionary out to create an entirely new way of PRICE: $9.99 / $13.99 CAN. waging war. A war that will destabilize one of the great super-powers and PAGES: 352 forever rearrange the balance of power across the entire globe. SPINE: 0.840 IN CTN COUNT: 48 KEY SELLING POINTS: CPDA/CAT: 05/SUSPENSE/THRILLER * NEW YORK TIMES BESTSELLING AUTHOR: Starting with his ORIGIN: FORGE HC (8/16, breakout hit The Ninja, Lustbader is a regular fixture on the bestseller list 978-0-7653-8551-2) * ALL-NEW STAND-ALONE NOVEL: This novel is a new story and AUTHOR HOME: NEW YORK, NY; somewhat new style for Lustbader but with the same elements of suspense LONG ISLAND, NY that his readers love * NEW BOURNE MOVIE IN 2016: Lustbader's Bourne novels are top ten, multiple week bestsellers, fueled by a mega-blockbuster movie franchise. -
Teleportation
TELEPORTATION ESSAY FOR THE COURSE QUANTUM MECHANICS FOR MATHEMATICIANS ANNE VAN WEERDEN SUPERVISOR DR B.R.U. DHERIN UTRECHT UNIVERSITY JUNE 2010 PREFACE The aim of this essay is to describe the teleportation process in such a way that it will be clear what is done so far, and what is still needed, to develop a teleportation device for humans, which would be my ultimate goal. However much is done already, there are thresholds that still have to be overcome, some of which will need real ingenuity, and others brute computing power, far more than we are now capable of. But I will show why I have confidence that we will reach this goal by describing the astonishing developments in the field of teleportation and the speed with which computing, or technology, evolves. The discovery that teleportation really is possible came about while I was in my thirties, but I was largely unaware of its further developments until I started the research for this essay. Assuming that I am not the only one who did not know, I wrote this essay aimed at people from my age, in their fifties, who, like me, started out without television and computer, I even remember my Mother telling me how she bought a transistor radio for the first time, placed it in a closet and closed the door, just to be amazed that it could still receive signals and play. We saw it all come by, from the first steps on the Moon watched on the television my parents had only bought a few years earlier, I clearly remember asking my Father who, with much foresight, got us out of our beds despite my -
![CITYSPEAK (From Bladerunner) Sushi Master: Nani Ni Shimasho Ka. [Japanese: "What Would You Like to Have?"] Deckard: {P](https://docslib.b-cdn.net/cover/3589/cityspeak-from-bladerunner-sushi-master-nani-ni-shimasho-ka-japanese-what-would-you-like-to-have-deckard-p-543589.webp)
CITYSPEAK (From Bladerunner) Sushi Master: Nani Ni Shimasho Ka. [Japanese: "What Would You Like to Have?"] Deckard: {P
CITYSPEAK (from Bladerunner) Sushi Master: Nani ni shimasho ka. [Japanese: "What would you like to have?"] Deckard: {Points} Give me four. Sushi Master: Futatsu de jubun desu yo. [Japanese: "Two is enough!"] Deckard: No. Four. Two, two, four. Sushi Master: Futatsu de jubun desu yo. [Japanese: "Two is enough!"] Deckard: {Resignedly} And noodles. Sushi Master: Wakatte kudasai yo. [Japanese: "Please understand!" (Actually implying sarcastically, "Can't you understand?") Policemnan: Hey, idi-wa. [Korean: "Hey, come here.] Gaff: Monsieur, azonnal kövessen engem bitte. [French-Hungarian-German: "Sir, follow me immediately please!" "azonnal" - means immediately; "kövessen" - means follow imperative; "engem" - means me. And of course "Monsieur" is French for Sir and "bitte" is German for please.)] Sushi Master: He say you under arrest, Mr. Deckard. Deckard: You got the wrong guy, pal. Gaff: Lófaszt, nehogy már. Te vagy a Blade ... Blade Runner. [Hungarian: "Horsedick, no way! You are the Blade ... Blade Runner." Sushi Master: He say you 'Brade Runner'. Deckard: Tell him I'm eating. Gaff: Captain Bryant toka. Me ni omae yo. [Japanese: "Captain Bryant wants to see your mug in front of his immediately!" (This is a loose translation. "Me ni omae yo" is a sort of pun. "Me ni mae" means to meet someone. "omae" is the very informal use of "you" - in Japanese, this is significant. "yo") Deckard (V/O): The charmer's name was Gaff, I'd seen him around. Bryant must have upped him to the Blade Runner unit. That gibberish he talked was city speak, gutter talk. A mishmash of Japanese, Spanish, German, what have you. -
Blade Runner and the Right to Life Eli Park Sorensen
Blade Runner and the Right to Life Eli Park Sorensen Trans-Humanities Journal, Volume 8, Number 3, October 2015, pp. 111-129 (Article) Published by University of Hawai'i Press DOI: https://doi.org/10.1353/trh.2015.0012 For additional information about this article https://muse.jhu.edu/article/635253/summary [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Blade Runner and the Right to Life Eli Park SORENSEN (Seoul National University) Ⅰ. Introduction One of the most debated issues in connection with Ridley Scott’s sci-fi masterpiece Blade Runner (1982) is whether Deckard — the protagonist, played by Harrison Ford — is a replicant or not. Allegedly, Ford was strongly opposed to Scott’s decision to include the famous unicorn scene in the film, which apparently confirms that Deckard — like Rachael — possesses “implants,” synthetic memories; a scene anticipating the film’s ending, during which Deckard finds an origami unicorn left by detective Gaff, who thus reveals that he knows about Deckard’s real identity — that he is in fact a replicant (Sammon 362). In this article, I suggest that although much of the scholarship and criticism on Blade Runner tends to focus on this particular issue, it nonetheless remains one of the least interesting aspects of the film. Or, to put it differently, whether Deckard is a replicant is a question whose real purpose rather seems to be covering a far more traumatic issue, which Michel Foucault in the first volume of History of Sexuality addresses thus: “The ‘right’ to life, to one’s body, to health, to happiness, to the satisfactions of needs, and beyond all the oppressions or ‘alienations,’ the ‘right’ to rediscover what one is and all that one can be” (145). -
Mirrorshade Women: Feminism and Cyberpunk
Mirrorshade Women: Feminism and Cyberpunk at the Turn of the Twenty-first Century Carlen Lavigne McGill University, Montréal Department of Art History and Communication Studies February 2008 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy in Communication Studies © Carlen Lavigne 2008 2 Abstract This study analyzes works of cyberpunk literature written between 1981 and 2005, and positions women’s cyberpunk as part of a larger cultural discussion of feminist issues. It traces the origins of the genre, reviews critical reactions, and subsequently outlines the ways in which women’s cyberpunk altered genre conventions in order to advance specifically feminist points of view. Novels are examined within their historical contexts; their content is compared to broader trends and controversies within contemporary feminism, and their themes are revealed to be visible reflections of feminist discourse at the end of the twentieth century. The study will ultimately make a case for the treatment of feminist cyberpunk as a unique vehicle for the examination of contemporary women’s issues, and for the analysis of feminist science fiction as a complex source of political ideas. Cette étude fait l’analyse d’ouvrages de littérature cyberpunk écrits entre 1981 et 2005, et situe la littérature féminine cyberpunk dans le contexte d’une discussion culturelle plus vaste des questions féministes. Elle établit les origines du genre, analyse les réactions culturelles et, par la suite, donne un aperçu des différentes manières dont la littérature féminine cyberpunk a transformé les usages du genre afin de promouvoir en particulier le point de vue féministe.