Searching is a 2018 American thriller film directed by Aneesh Chaganty and written by Chaganty and Sev Ohanian. Set almost entirely on smartphones and computer screens, the film follows a father (John Cho) trying to find his missing 16-year-old daughter (Michelle La) with the help of a police detective (Debra Messing). It was the first mainstream Hollywood thriller headlined by an Asian-American actor. (wiki)
While the film features computer operating systems, programs and (mostly) websites, they were re-created from scratch and animated on computers. (trivia)
Another World, also known as Out of This World in North America and Outer Worldin Japan, is a 1991 cinematic platformer action-adventure game designed by Éric Chahi and published by Delphine Software. The game tells a story of Lester, a young scientist who, as a result of an experiment gone wrong, finds himself on a dangerous alien world where he is forced to fight for his survival.
Another World was developed by Chahi alone over a period of about two years, with only help with the soundtrack from Jean-François Freitas. Chahi developed his own game engine, completing all the game’s art and animations in vector form to reduce memory use, with some use of rotoscoping to help plan out character movements. Both narratively and gameplay-wise, he wanted the game to be told with little to no language or user-interface elements. The game was originally developed for the Amiga and Atari ST but has since been widely ported to other contemporary systems, including home and portable consoles and mobile devices. Chahi has since overseen release of various anniversary releases of the game.
Another World was innovative in its use of cinematic effects in both real-time and cutscenes, which earned the game praise among critics and commercial success. It also influenced a number of other video games and designers, inspiring such titles as Ico, Metal Gear Solid, Silent Hill, and even Delphine’s later Flashback. (wiki)
“No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.”
― Shirley Jackson, The Haunting of Hill House
As the world around us increases in technological complexity, our understanding of it diminishes. Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world.
In reality, we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the apparent accessibility of information, we’re living in a new Dark Age.
From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.
In his brilliant new work, leading artist and writer James Bridle surveys the history of art, technology, and information systems, and reveals the dark clouds that gather over our dreams of the digital sublime. (VERSO)
For more than a century the great colonial powers put human beings, taken by force from their native lands, on show as entertainment just like animals in zoos. The story of the savage treatment of people who were considered sub-human.
“The Magellan and Pioneer space probes near Venus have reported through radar imagery (or radio-based imaging) that “snow” on the surface of Venus contains large quantities of lead sulphide. It is not hard to imagine a situation that certain geological tracts of this metallic snow act as a coherer in the presence of radio waves from outer space, clumping together to mark forever the arrival of a message from distant stars, like an interstellar telegraph in Morse Code. Two years before Karl Jansky’s discovery of the cosmic radiophony, Hart Crane wrote in the poem Cape Hatteras: