General Category => Ostalo => Topic started by: Lidija on July 13, 2016, 09:08:47 AM

Title: Odasvud pomalo...
Post by: Lidija on July 13, 2016, 09:08:47 AM
(... prozor za Miću  ;D)

A new study of Ray Bradbury reminds us how much the author of Fahrenheit 451 believed in humanity.[url]

( (
Title: Re: Odasvud pomalo...
Post by: Lidija on July 13, 2016, 09:12:08 AM

As Silicon Valley lays plans to colonize Mars, researchers offer a blueprint for governing it (


NASA has been tasked with landing humans on Mars by the 2030s. The nonprofit Mars One foundation claims it’s preparing to blast off hardware for human habitation of the Red Planet by 2024. And Elon Musk, the founder and CEO of SpaceX, has made it his mission to turn Mars into humanity’s second home to save our species from possible extinction.

No political system exists to manage these new arrivals—and if humans indeed colonize Mars in the 21st century, we’re going to need one soon. But it’s hard to find good precedents for governing in a place where air may need to be a basic right of citizenry and an entire planet is up for grabs.

Musk’s vision for governance on Mars is steeped in the libertarian-leaning ideals of Silicon Valley. At a recent Recode event, he described a system of “direct democracy,” rather than a reliance on elected officials to represent the masses. Musk would let people vote directly on most (if not all) issues before the government. Laws would be subject to expiration dates and popular recall by 40% of the population, ensuring it’s “easier to remove a law than to create one.” Musk believes the colonization of another planet will give humanity an opportunity to reboot its mode of governance, much as the US Constitution did in 1788, making a sharp break with outdated institutions and ideas born in an earlier era.

Humans have learned a lot in the intervening centuries about how to manage competing polities. And researchers publishing in the journal Space Policy (paywall) on May 30 say we should use them. Three treaties in particular—agreements governing the high seas, Antarctica, and outer space— point the way to “successful sharing of international resources,” say the authors.

The researchers, from the nonprofit Blue Marble Space Institute of Science in Seattle, came to rather different conclusions than Musk about how to encourage harmony between rival states, sustain Martian exploration, and avoid follies ranging from physical violence to rampant environmental degradation.

Their full proposal (pdf) borrows from the Antarctic Treaty System and the UN Convention on the Law of the Seas, as well as the 1967 Outer Space Treaty (pdf) that decrees “the exploration and use of outer space shall be carried out for the benefit and in the interests of all countries and shall be the province of all mankind.” It hands local power to Martian inhabitants, coordinated by a weak central authority called the Mars Secretariat. No country can make a sovereign claim, but property rights to extract minerals and resources are permitted. Colonizing parties can occupy limited plots of Martian land, and claim exclusive economic rights within a 100 kilometer radius, but not prevent others from inhabiting or traversing the territory. Colonists remain under the legal jurisdiction of their host nation. Conflicts are resolved either by temporary Martian tribunals of representatives from other Mars colonies or diplomacy back on Earth.

Title: Re: Odasvud pomalo...
Post by: Lidija on July 21, 2016, 07:54:17 AM

Pluto Stamp Aboard NASA's New Horizons Probe Sets Guinness World Record (

When NASA's New Horizons spacecraft flew by the dwarf planet Pluto one year ago this month, the mission set a number of records. The probe was the first to encounter the small world at the edge of our classical solar system, sending back images that revealed Pluto's surface for the first time.

But beyond its own mission of exploration, New Horizons also served as the delivery vehicle for a 1.5-inch by 1-inch (3.8 by 2.5 cm) relic that set a record of its own.

"The official record for the farthest distance traveled by a postage stamp is 3.26 billion miles [5.25 billion km]," said Jimmy Coggins, an official adjudicator for Guinness World Records, at a ceremony held Tuesday morning (July 19) at the United States Postal Service's (USPS) headquarters in Washington, D.C.
Title: Re: Odasvud pomalo...
Post by: Lidija on July 21, 2016, 08:08:45 AM
Sophie Mayer objašnjava zašto SF serijal Gwyneth Jones spada u obavezno čitanje...


Gwyneth Jones’ 2002 Arthur C. Clarke Award-winning novel Bold as Love opens some time around now or the near future, in Dissolution Summer, as England prepares to go it alone, dismissed by the wealthy Celtic nations. It might be fifteen years old, but Bold as Love is the most uncanny and necessary read for exactly this moment, as we face up to the latent divide in British politics that the EU referendum has brought to the surface. In Jones’ England, crisis is the new normal. Climate change and economic collapse are causing riots across Europe, and England will soon be further isolated by a devastating internet virus, and face the arrival of hundreds of thousands of refugees crossing the North Sea, D-Day in reverse. (
Title: Tesla's entire future depends on the Gigafactory
Post by: Lidija on July 29, 2016, 11:24:51 AM

Tesla's entire future depends on the Gigafactory (

When you find yourself in the middle of the Nevada desert, on a 100-degree day, you wonder: who in the world would build something here?

Elon Musk, of course.

And so I’m here in the city of Sparks, outside of Reno, because of Musk’s dream — his "Master Plan" for Tesla, to be specific. He’s staked his entire company (and much of his net worth) on a single, enormous building here: the Gigafactory.

Tesla's Gigafactory is perhaps the best example of the literal scale of Elon Musk's ambitions. When the factory is complete, it will be the largest building in the world by footprint and, if all goes according to plan, will eventually churn out enough batteries to supply 150 gigawatt hours of batteries per year. That's enough for 1.5 million Model 3s. Tesla hopes to build 35GWh of batteries per year by 2018, equivalent to 500,000 Model 3s.

Pull up "large" in your thesaurus and you can easily apply any synonym to the plant: great, huge, sizable, substantial, immense, enormous, colossal, massive, mammoth, vast, prodigious, tremendous, ginormous — all of them apply. And maybe that doesn't even capture it.

The building, which Musk finds "quite romantic," is aligned north to south. It will be large enough to cover 107 NFL football fields with two to four floors of factory floor and workspace layered on top. There are 10,000 wild horses in the area, with some taking advantage of Tesla's construction efforts to drink from the water storage pools used during the building process.

"It's great," said Musk in a press conference with reporters at the Gigafactory yesterday. "It's like the Wild West."

But, according to Tesla, it's so much more than a battery factory. Forget the Model 3: the success of the Gigafactory is the most critical part of Tesla's future and the execution of Musk's overriding quest to save the world from the effects of climate change. Without the Gigafactory, there is no Model 3 because there will be no batteries.

"We consider [the factory] to be a product. The factory itself is the machine that builds the machine," said Musk. "It actually deserves more attention from creative problem solving engineers than the product that it makes."

Musk argues that applying engineering effort to refining the production process is a better use of man-hours than trying to wring the last little bits of efficiency out of his cars. An engineer working on improving the factory line is five to 10 times more productive than that same effort put on the product that's actually being built.

"It takes a massive amount of effort to improve the inverter efficiency by a few tenths of a percentage point," said Musk. "You have to really wrack your brain and try super hard and take a lot of risks to improve efficiency by a few tenths of a percentage point." But apply that same engineering effort to the process of building the inverter and it can deliver 10 times the efficiency improvement. Musk cited one example where his engineers were able to reduce a production station's time from 200 seconds to a single second.

I'll admit that I thought the idea of the Gigafactory was absurd when it was first proposed three years ago. I wasn't the only one. Panasonic is investing huge sums of money to build battery production lines right inside the Gigafactory — it's a sort of tenant / landlord situation where Panasonic owns its production lines and delivers battery cells right to the front end of Tesla's production line.

Title: Re: Odasvud pomalo...
Post by: Lidija on August 04, 2016, 08:08:18 AM
 ;D ;D 8)
Title: Re: Odasvud pomalo...
Post by: Lidija on August 04, 2016, 08:18:49 AM

Moon Express Approved for Private Lunar Landing in 2017, a Space First (

For the first time ever, a private company has permission to land on the moon.

The U.S. government has officially approved the planned 2017 robotic lunar landing of Florida-based Moon Express, which aims to fly commercial missions to Earth's nearest neighbor and help exploit its resources, company representatives announced today (Aug. 3).

"This is not only a milestone, but really a threshold for the entire commercial space industry," Moon Express co-founder and CEO Bob Richards told

Previously, companies had been able to operate only on or around Earth. The new approval, while exclusive to Moon Express, could therefore serve as an important regulatory guide for deep-space commercial activity in general, Richards said.

"Nobody's had a deep-sea voyage yet. We're still charting those waters," he said. "Somebody had to be first."

Moon Express submitted an application to the U.S. Federal Aviation Administration (FAA) on April 8. The document then made its way through the U.S. State Department, the U.S. Department of Defense, NASA, the National Oceanic and Atmospheric Administration, and the Federal Communications Commission, Richards said.

The interagency approval process "took some time, not because anybody was against or averse to this," he said. "It's just that we asked questions that had never been asked before, and that had to be addressed and worked out."

Moon Express can now focus exclusively on the financial and technical challenges of the 2017 moon mission, which will begin with the launch of the company's MX-1 lander atop a Rocket Lab Electron booster. (Moon Express signed a multilaunch deal with Rocket Lab last year.)

The main goal of the maiden launch is to test out the MX-1's performance and capability on the lunar surface. Moon Express representatives also hope to win the Google Lunar X-Prize, a $30 million competition to land a privately funded robotic vehicle on the moon by the end of 2017.

The first team to pull off this landing — and get the vehicle to move at least 1,640 feet (500 meters) on the lunar surface, and beam high-definition video and photos back to Earth — will win the $20 million grand prize. (The second team to achieve all of this gets $5 million, and another $5 million is available for meeting other milestones. At the moment, 16 teams remain in the running.)

"We're still shooting for the end of 2017," Richards said of the maiden MX-1 moon mission. "A lot has to go right, but at least we have a shot at our moon shot, given this regulatory approval."

If all goes according to plan, future Moon Express missions will help assess, extract and exploit lunar resources such as water ice, helping to launch a new era in space exploration, company representatives have said.

"Space travel is our only path forward to ensure our survival and create a limitless future for our children," Moon Express co-founder and Chairman Naveen Jain said in a statement today. "In the immediate future, we envision bringing precious resources, metals and moon rocks back to Earth. In 15 years, the moon will be an important part of Earth’s economy, and potentially our second home."
Title: Re: Odasvud pomalo...
Post by: Lidija on August 04, 2016, 09:08:38 AM

Facebook gives its Oculus employees a dystopian sci-fi book to get them excited about building the future  (

Anyone who starts a job at Facebook-owned virtual-reality company Oculus is given a copy of Ernest Cline's dystopian science-fiction bestseller, "Ready Player One."

The book, published in 2011, takes place in 2044, when the world is a dismal place and people spend most of their social time inside a virtual world called Oasis.

People who've read it see it as simultaneously scary and exciting that Facebook's vision of VR is molded by the book.

Facebook execs have described a future where VR will let friends sit together courtside at an NBA game from their living room couch or be an escape for dying people in the hospital.

Like Cline's Oasis, they want the virtual world to be just as real as real life. Hopefully, though, the real world won't be as worth escaping as his.

"It's incredibly flattering and humbling to know that the folks at Oculus cite my novel as a big influence," Cline told Business Insider. "Palmer Luckey, the founder of Oculus, has invited me to their offices several times to sign books and demo their hardware."

Although Cline hasn't met Facebook Mark Zuckerberg, he has heard that the CEO has read both his books too.

In an in-depth profile of Facebook's VR ambitions, Luckey told Bloomberg that he's not scared of getting beat by other VR companies because he "knows too much," citing sci-fi books like "Ready Player One" and Neal Stephenson's "Snow Crash."

"Some companies are figuring out their long-term vision as they go in terms of where is this technology going to be in 10, 20, 30 years. But for a lot of the people here, we've all read science fiction," he told Bloomberg's Bryant Urstadt and Sarah Frier. "We all know what virtual reality is in sci-fi. Even though the product we have today is not the one that we want to have 10 or 20 years from now, everyone wants to get there. The goal is clear: It's to make VR technology that's as real as real life with none of the limitations."

Here's a video Oculus made the first time Cline visited its office:
Title: Re: Odasvud pomalo...
Post by: Lidija on August 15, 2016, 07:38:11 AM
Gunn Honored

James Gunn has received a lifetime teaching award from the Writing the Rockies writers conference at Western Colorado State University. Gunn, who has published numerous novels, stories, and academic books, created the Center for the Study of Science Fiction at the University of Kansas, is a SFWA Grand Master, a member of the Science Fiction Hall of Fame, and a Hugo Award recipient.
Title: Re: Odasvud pomalo...
Post by: Lidija on August 30, 2016, 07:58:02 AM
Tužna vest:

Actor Gene Wilder (b.Jerome Silberman, 1933) died on August 29. Wilder portrayed Dr. Frankenstein in Mel Brooks’s comedy Young Frankenstein as well as the fox in The Little Prince and the title role in Willy Wonka and the Chocolate Factory. Non-genre roles included the Mel Brooks comedies The Producers and Blazing Saddles as well as the title role in The Adventure of Sherlock Holmes’ Smarter Brother. He was nominated for the Academy Award for his role in The Producers and his screenplay for Young Frankenstein. Wilder shared a Hugo and Nebula Award with Mel Brooks for Young Frankenstein as well.
Title: Re: Odasvud pomalo...
Post by: Lidija on August 30, 2016, 09:46:40 AM

Title: Re: Odasvud pomalo...
Post by: Lidija on September 02, 2016, 08:38:44 AM
Nasa ends year-long Mars simulation on Hawaii

A team of six people have completed a Mars simulation in Hawaii, where they lived in near isolation for a year.

Since 29 August 2015, the group lived in close quarters in a dome, without fresh air, fresh food or privacy.

Experts estimate that a human mission to the Red Planet could take between one and three years.

The Nasa-funded study run by the University of Hawaii is the longest of its kind since a Russian mission that lasted 520 days.

Having survived their year in isolation, the crew members said they were confident a mission to Mars could succeed.

"I can give you my personal impression which is that a mission to Mars in the close future is realistic," Cyprien Verseux, a crew member from France, told journalists. "I think the technological and psychological obstacles can be overcome."
Title: Re: Odasvud pomalo...
Post by: Lidija on September 20, 2016, 07:58:28 AM
James Wallace Harris čeprka po staroj dilemi...

Why Science Fiction and Fantasy Are Fundamentally Different (

I’m endlessly annoyed that science fiction and fantasy are linked together in the public’s mind. Philosophically, they are polar opposites, Science fiction is the enemy of magic, and magic is the foundation of fantasy. These two forms of literature parallel two opposing philosophies of reality: science and religion. We all exist in one reality, but we have chosen to explain reality in two contradictory ways: evolution and magic. Religious fundamentalists understand this distinction, which is why they are so fervently opposed to evolution and science. If you understand evolution there is no need for God. If you understand the Christian theology, there is no need for evolution.

Most people try to incorporate both belief systems into their world view, but that only shows they don’t understand the profound and complete differences between the two. You can’t have God and Evolution as the primary creator of life on Earth. You can’t have Science and Magic. Earth Abides by George R. Stewart is an excellent example of science fiction. Because Randall Flagg is a driving force in The Stand by Stephen King, it makes that book a fantasy novel, even though it follows in Earth Abides footsteps. Once you add the supernatural (magic) to a story it can’t be science fiction, even if it’s using a standard science fiction concept and setting. I bring up these two books because they are both nominated in polls for the best science fiction books of all time. (And yes, I know many writers want to create hybrids, like All the Birds in the Sky by Charlie Jane Anders.)

Even though I don’t like that science fiction and fantasy are always lumped together, I can understand why. Most people want to believe in magic, but they accept science. That’s why they pray when they fly in an airplane. Most people are clueless to how their smartphone works, but they accept technology as magical. When folks go in for surgery they ask their friends to talk to God for them, even though the outcome depends on the surgeons’ scientific knowledge and evolutionary biology of the patient.

Magic is based on the power of the word. Magicians work by incantation. They learn their spells through study of arcane knowledge. God said, “Let there be light” and there was light. God creates with the power of words.  The person who wrote The Gospel of John understood that when he said, “In the beginning was the Word, and the Word was with God, and the Word was God.”  When primitive people tried to understand how reality worked they came up with the logic of magic, and the power of words. That’s why magical spells are so important to magicians, they are imitating the power of God. It’s also why most religions disavow magic.

Science, which came very late in human development, assumes there is no magic, and words don’t create but describe. Science assumes everything can be explained through observing reality. Technology is applied science. Science assumes there are no magical beings, no magical forces, and no magic itself. For any story to be truly science fiction it must assume magic does not exist. For any story to be fantasy, magic is an integral part of its reality. That’s why Star Wars is fantasy, and not science fiction.

Science fiction is far from perfect, and far from scientific. Probably one reason the public lumps science fiction and fantasy together, is all to often science fiction claims magical concepts can be scientific. A great example is Stranger in a Strange Land by Robert A. Heinlein. There were many science fiction writers in the 1950s that desperately wanted to believe in extrasensory powers. Writers and editors like John W. Campbell, Robert A. Heinlein, Arthur C. Clarke, or Theodore Sturgeon, believed humans could evolve to have god-like powers, or possessed untapped psychic potential that could be developed. Heinlein proposed that Valentine Michael Smith was raised by ancient beings on Martians that taught him to use such powers. But is that science fiction or fantasy?  Mike essentially works miracles. Stranger in a Strange Land is an anti-science fiction novel. Heinlein even melds religion and God into his story. Some have claimed Heinlein was being satirical, but Heinlein also wrote essays about his beliefs in ESP, and even predicted science would prove the existence of the afterlife one day.

(ostatak na blogu...)
Title: Re: Odasvud pomalo...
Post by: Irena Adler on September 20, 2016, 09:29:57 AM
Hvala za ovo, vrlo je zanimljivo (mada se prilično temeljno ne slažem, al' to je za neku drugu temu).
Title: Re: Odasvud pomalo...
Post by: Lidija on September 20, 2016, 09:56:36 AM
Istini za volju, ni ja ne pronalazim bog zna šta u ovako postavljenoj argumentaciji, no, srećom, bilo je i ozbiljnijih bavljenja ovom temom, pa sama postavka itekako ima merita… SF se slabo zapati u sredinama koje se snažno oslanjaju na... pa, nazovimo ga tradicionalističkim mentalitetom, u nedostatku bolje reči. Odnosno, zapate se lakše oni niži oblici SFa, kojima je granica sa fentezijem labavije definisana negoli kod hard-SFa, recimo.
Title: Re: Odasvud pomalo...
Post by: Jevtropijevićka on September 20, 2016, 10:41:00 AM
Tema je zaista doživela i boljih obrada. Meni u ovako postavljenoj dihotomiji smeta najpre to što se izjednačavaju religija i magija tj. religijski i magijski sistem mišljenja, što je u startu katastrofalno (da ne idemo dalje, ispada da su se svi religiozni naučnici od Njutna nadalje zapravo... bavili magijom? potajno bili ateisti?) a potom što odbačene, prevaziđene ili nedokazane/nedokazive SF koncepte takođe svrstava u magiju i onda kad to u momentu nastanka apsolutno nisu bili. I tako potpuno neupitna distinkcija nauka/magija u ovom izvođenju totalno izgubi na vrednosti.

Verujem da je ovo SF/F razdvajanjeprema preovlađujućem mentalitetu, koje Lidija pominje, bliže meti, ali se onda postavlja pitanje otkud toliki uspon fentezija u novije doba (na šta je npr. Suvin dao dosta pesimističan odgovor i kasnije umereno revidiran odgovor). Mene silno zanima npr. kako se onda u tako čiste i pregledno polarizovane dihotomije uklapa recimo New Weird.   ;D
Title: Re: Odasvud pomalo...
Post by: Irena Adler on September 20, 2016, 11:05:58 AM
Ja se pre svega ne slažem sa tim da su tehnologija i magija po definiciji suprotnosti koje se isključuju (pa onda, naravno, iz toga sledi i da se ne slažem da na osnovu te pretpostavke može da se gradi bilo kakva distinkcija). To je prilično pojednostavljeno viđenje (Kao i to da je tehnologija primenjena nauka. To je jako pojednostavljeno viđenje i pri tom vrlo vremenski/prostorno ograničeno).

Sad, meni se u principu čini da SF ima mnogo više potencijala da problematizuje razne stvari koje mene lično zanimaju, ali striktna naučna plauzibilnost nije među tim stvarima.
Title: Re: Odasvud pomalo...
Post by: Lidija on September 20, 2016, 11:27:54 AM
@ Jevtra: Slažem se.

Isto tako, mislim da James ponajpre greši što se previše oslanja na pojedinačne autore, i na temelju njihovih karakteristika i specifičnosti izvlači zaključke za koje u korpusu možda i nema toliko potpore koliko on misli, to bar statistički gledano. Većina ozbiljnih analiza koje su se ovim bavile kao da nisu padale u tu klopku, pogotovo ne unutar jednog te istog korpusa: mislim da je naglasak bio više bio na osnovnim kulturološkim specifičnostima, recimo na nivou sudara kultura, i to kroz antropološku prizmu, a ne samo statističku selekciju unutar korpusa… meni je jako bilo zanimljivo ono što je Apex radio, preko muslimanskih autora i njihove percepcije standardnih zapadnjačkih žanrovskih obrazaca.  (ne samo SF, naravno, svi žanrovi.)

Dok sam pratila Mind Meld tribine, često se ukazivalo na činjenicu kako savremeni fentezi obrasci imaju jaču infrastrukturnu podršku, kroz kompjuterske igre i CGI, pa otud i uspevaju lakše da premoste barijer kulturnog jaza. To kako recimo kinesko ili indijsko tržište reaguje na fentezi film, to se naprsoto ne događa SF filmom, a isto važi i za prozu, bilo da govorimo o konceptu kolonizovanja Marsa ili o trezvenom poimanju AI aspekta.

E sad, da li se ta publika mimoilazi sa SF korpusom samo zato što naprosto nije sklona striktnoj naučnoj plauzibilnosti, kako Irena kaže? Ne znam tačno, ali pitanje jeste validno, plus je taj odnos mentaliteta i javne vizije strašno fluidan fenomen: recimo, ja smatram da je kod nas (bivša Juga, naravno) ta fluidnost dozvolila vrlo kratkoročan “spoj” sa zapadnjačkom javnom SF vizijom, i da je “prozor” za to spajanje trajao svega deceniju ili tu negde. Van tog prozora – bilo pre ili posle – uslova za taj i takav spoj jednostavno nestaje, to bar na onom nivou kritične mase koja je nužna da se žanr zapati u sredini. 

ali naravno, to je samo moja subjektivna procena. :)
Title: Re: Odasvud pomalo...
Post by: Lidija on September 20, 2016, 11:35:40 AM
Ja se pre svega ne slažem sa tim da su tehnologija i magija po definiciji suprotnosti koje se isključuju

Pa eto, ja imam silnih problema da shvatim/prihvatim koncept u kom se ne isključuju....

Naravno, druga je stvar ako se ti referišeš na onu famoznu Klarkovu izjavu kako “napredna tehnologija bude nerazlučiva od magije” – on tu ipak govori o prividu, dakle o percepciji koja pripada inferiornom pogledu: meni lično i smartfon može da liči na magiju, ali to ne znači da on jeste magija.
Title: Re: Odasvud pomalo...
Post by: Irena Adler on September 20, 2016, 11:43:23 AM
U stvari, ta Klarkova izjava samo zatvara krug. Ima tu mnogo različitih stvari (koje moram jednom da složim u neku koherentnu priču, ali nikako da dođe na red): recimo, Mamford, koliko se sećam, kaže da je malo falilo da ljudi uopšte ne..."izmisle" tehnologiju jer su bili opčinjeni time što su pre toga izmislili jezik i magijsko mišljenje. Neki antropolozi (dobro, Malinovski) kažu da u "primitivnim" društvima i te kako razlikovali tehnologiju i magiju i da se one vrlo dopunjuju (prvo služi da napraviš čamac koji neće da potone u regularnim uslovima, drugo služi da prizoveš lepo vreme da ti neregularni uslovi ne potope čamac). Iza svega toga je da u suštini i tehnologija i magija počivaju na istoj premisi, tj. da je spoljnim svetom moguće manipulisati u sopstvenu korist, ovim ili onim sredstvima.

E sad, meni su zanimljivija pitanja -u čiju korist je manipulacija; -kakve su posledice; -kako odlučujemo šta je dozvoljeno a šta zabranjeno; od toga kakva su sredstva.
Title: Re: Odasvud pomalo...
Post by: Lidija on September 20, 2016, 12:00:51 PM
A ok, sad mi je već malko jasnije.  :)

U redu, to za te premise, meni to zaista nije sporno, ali nije ni odlučujuće, kad u današnje vreme raspravljamo o prirodi magije i tehnologije. Jeste da magija ima tu prednost “kompletiranosti” (dok se sirote nauka i tehnologija svo ovo vreme “popravljaju” i “dopunjavaju”) pa se time i konverzacija uvek naginje nekako u korist takvog stava, no ipak...

Isto tako, svesna sam da na nekom nivou razlika stvarno postaje teško razlučiva – recimo, magijski koncepti transmutacije elemenata danas se mogu ne samo naučno objasniti nego i sa lakoćom izvesti - no ipak, to ne bi trebalo prihvatiti kao apologiju magijskog kamena mudrosti, nego prosto kao činjenicu da ima jako malo prirodnih fenomena kojima nije moguće direktno manipulisati, na dovoljno visokom tehnološkom nivou. Otud negde bi mogli i krenuti,

I eto, ispada da je ovde ponajveći problem nekako se složiti šta je to nama magija a šta nauka…  :-\
Title: Re: Odasvud pomalo...
Post by: Miodrag Milovanovic on September 20, 2016, 07:03:34 PM
I eto, ispada da je ovde ponajveći problem nekako se složiti šta je to nama magija a šta nauka…

Pa i jeste. Mnogo toga zavisi od nas samih... Ja, na primer, i dalje nisam siguran kako da gledam na hipnozu? Ili na akupunkturu?
Da li su to naučne discipline?
Title: Re: Odasvud pomalo...
Post by: Lidija on September 21, 2016, 09:01:58 AM
Pa, na ovom nivou konverzacije, mi uglavnom i govorimo o individualnim doživljajima, uz svu simplifikaciju koju to podrazumeva, kao što se vidi iz Jamesovog primera.

A kad je o simplifikaciji reč – da, slažemo se da postoje najmanje dva načina da percipiramo fenomene oko nas: jedan prepoznajemo kao naučni, a drugi (da ispoštujemo Jevtrinu primedbu o neadekvatnosti religijsko/magijske odrednice  :D) možemo da za ove potrebe okrstimo kao ne-naučni, iako je to možda ipak sve varijanta dileme o imenu ruže. Ali poenta je da se naglasi kako je taj potonji sušta suprotnost onom prvom, i to je sve. I možda je Irena u pravu, možda se oni ipak dokazano ne isključuju – isključivost je ionako teško održivo stanje – ali ja smatram da se isključuju.

Recimo, ja se veoma dobro sećam svoje šokiranosti nad jednom izjavom von Neumanna kako je apsolutno nemoralno za naučnika da ne postigne sve ono za šta smatra da jeste ostvarivo.

Naravno da shvatam šta hoće time da kaže, i shvatam zašto to smatra, baš kao što mi je i jasno zašto to saopštava kroz negative: ali svejedno, ja se sa onim što ta izjava predstavlja tako duboko ne slažem, da mi nema druge nego da u tome prepoznam isključivost. A to moje neslaganje nije direktna posledica činjenice da je izjava data u kontekstu Openhajmerovog Šive, niti moje sklonosti za religioznost, a još manje za magiju: naprosto, ta izjava predstavlja svetonazor koji ne delim, to iz million bazičnih razloga.

Što me precizno dezignira na onu ne-naučnu stranu, naravno, svesna sam toga. Ali ako, stvari su takve kakve jesu.

E sad, kako na tom prostom faktu dokazati isključivost dveju oprečnih percepcija kad se i sama ova konverzacija odvija uz pomoć tehnologije za koju mogu da  zahvalim upravo von Neumannu i njegovom specifičnom naučnom svetonazoru?

Pa, nikako, ali smatram da ta moja hipokrizija svakako nije adekvatan dokaz uključivosti dvaju percepcija. Jer izvan ovog individualnog pristupa, postoji i onaj masovni, globalni, a on svakako nije prost zbir individualnih: recimo da prevagu ne odnose gole brojčane snage po tom pitanju, otud i ne smatram tačnom tvrdnju da je ijednu prevagu odneo prost veći broj naučnih percepcija. U tom smislu, uopšte nije bitno da li akupunkturu i hipnozu svrstavamo na ijednu stranu striktno na temelju većeg broja naučnih ili ne-naučnih mišljenja – naprosto, ako postoje argumenti i za jednu i za drugu stranu, prevagu uglavnom odnose oni dokazivi. A ako ni jedni nisu dovoljno očigledno dokazivi, e onda prevagu odnosi ono što je uvek i odnosi, ono što je odnelo prevagu i na nukleanim istraživanjima – procena potrebe i profitabilnosti.

Što nas opet vraća na pominjanu hipokriziju: eto, ja ne delim moral pribavljanja znanja pod svaku cenu, ali jednom kad je to znanje ipak pribavljeno, ja nemam bog zna kakvih problema da koristim njegove plodove u svrhu lične dobrobiti.

Ali to je generalna sudbina sviju nas, ta politika “svršenog čina”, iz koje se Irenina uključivost verovatno i ne može negirati. No ako se osvrnemo na istoriju, na one specifične momente-u-vremenu u kojima se takve odluke ipak  nisu mogle mogle tretirati kao “svršen čin”, e onda je ta isključivost daleko jasnija. Naravno, njen najbolji primer je Inkvizicija, to prosto zato što nam je to najbolje dokumentovan pokušaj kontrole nad procesom pribavljanja znanja, ali svakako je bilo mnogo sličnih pokušaja u istoriji, to na manjoj skali ali sa više političke/diplomatske veštine i sa manje dokumentovanog uticaja. Iz te perspektive, isključivost je meni ipak mnogo, mnogo vidljivija.

Ali naravno, van tog mračnog perioda istorije i našeg urođenog fetiša za lomače, isključivost je mnogo teže dokazati, pogotovo onoj percepciji ogrezloj u benevolenciju demokratskog poimanja tolerancije… što ipak ne znači da je nema.

Što me dalje vraća na odgovor o akupunkturi: da li je naučna ili ne?

Smatram da nije.


Pa eto, ja ću rado da saslušam sve argumente u korist naučne dezignacije akupunkture, i rado ću se njima podrobnije da pozabavim, i spremno ću da im se divim bude li za to razloga, ali jednu činjenicu već unapred znam, i pre takve eventualne konverzacije: da se ikad zateknem u situaciji da neku smrtonosnu boljku lečim tradicionalnom naučnom operacijom ili alternativnom akupunkturom, ja bih odabrala ono prvo bez ijedne milisekunde razmišljanja.

Otud, eto i mog odgovora, u svoj njegovoj maestralnoj isključivosti...  ;D

Title: Re: Odasvud pomalo...
Post by: Jevtropijevićka on September 22, 2016, 09:00:21 PM
Ovo ne znam gde da stavim, a vidim da priča nije zavedena u bibliografiji na Znaku sagite. Elem, Ivo Andrić ima SF priču po nazivu "Dedin dnevnik" koje se izgleda malo stideo (ne zbog SF elementa) i zajedno sa još nekim objavljivanim u tom periodu 1945-6 nije uvrstio u kasnija izdanja pripovedaka.
Evo šta sam našla o sadržini, u tekstu Tamare Živankić "O Branku Lazareviću" objavljenom u časopisu Ulaznica (Lazarević pominje tu priču):
Radi se o piščevom futurističkom pogledu na 20. oktobar 1994. godine u Beogradu. Pred čitaocem su tri mladića od kojih jedan čita odlomke iz dnevnika svoga dede gde su, pre pedeset godina, zabeležene uspomene na dan oslobođenja Beograda od nemačke okupacije. Pripovetka obiluje opisima stradanja partizanskih, kao i vojnika Crvene armije, a pritom se jasno tematizuje problem pamćenja. Tako se ova priča pokazuje kao opomena mladima koji zaboravljaju na zasluge predaka. Tekst završava obnovljenim interesovanjem jednog od dvojice mladih slušalaca za proslavu Dana grada: „Znaš, mislio sam da ostanem i da čitam, ali slušajući staromodnu a toplu prozu tvoga dede, rešio sam da i ja pođem na tu proslavu 20. oktobra. Hoću da čujem. Nisam zadužen, ali osećam potrebu da odam neku počast tim ljudima koji su tako teško živeli i tako se dobro borili u ovom Beogradu koji je tada bio malen i razrušen, a u kome mi danas lepo živimo i radimo.“
Title: Re: Odasvud pomalo...
Post by: Miodrag Milovanovic on September 22, 2016, 09:08:47 PM
Gde to može da se nađe?
Title: Re: Odasvud pomalo...
Post by: Jevtropijevićka on September 22, 2016, 09:12:35 PM
Ako dobro razumem, može u ovom izdanju:
Title: Re: Odasvud pomalo...
Post by: Miodrag Milovanovic on September 23, 2016, 04:11:05 PM
Title: Re: Odasvud pomalo...
Post by: Lidija on September 29, 2016, 10:08:41 AM
Elon Musk se ne da ometati! :)
Title: to o Andrićevoj priči moglo bi biti veliko otkriće
Post by: Aleksandar_B_Nedeljkovic on September 29, 2016, 11:53:28 AM
То је итекако велико откриће! Е кад бисте могли пронаћи где је и кад објављена та прича “Дедин дневник” - -  ако је уопште објављена? потврдити да заиста постоји! Био би то један од угаоних каменова у историји српске научне фантастике. Ово је прилично хитно, ја бих ускоро могао на једној конференцији да поменем ту Андрићеву причу… као Ваше откриће; ако је пронађете.

У том чланку у “Вечерњим новостима” наводно од 26. децембра 2009. само се каже,

PRVI put u jednoj knjizi sabrane su sve pripovetke Ive Andrića, 134 priče koje je priredila Žaneta Đukić-Perišić, a objavio Zavod za udžbenike.

дакле, у једној? којој? библиографски податак? на којим страницама? Да ли је то прича само нађена у заоставштини, или ју је Андрић стварно објавио (где?) 1944. године? али је питање, да ли смемо причу саму да скенирамо па окачимо, јавно, за џ, јер, Андрићево ауторско право још није истекло.
Title: Re: Odasvud pomalo...
Post by: angel011 on September 29, 2016, 12:27:03 PM
Knjiga bi trebalo da je ova:

Odnosno, to je drugo izdanje te knjige.
Title: Re: to o Andrićevoj priči moglo bi biti veliko otkriće
Post by: Jevtropijevićka on September 29, 2016, 02:50:12 PM
То је итекако велико откриће! Е кад бисте могли пронаћи где је и кад објављена та прича “Дедин дневник” - -  ако је уопште објављена? потврдити да заиста постоји! Био би то један од угаоних каменова у историји српске научне фантастике. Ово је прилично хитно, ја бих ускоро могао на једној конференцији да поменем ту Андрићеву причу… као Ваше откриће; ако је пронађете.

У том чланку у “Вечерњим новостима” наводно од 26. децембра 2009. само се каже,

PRVI put u jednoj knjizi sabrane su sve pripovetke Ive Andrića, 134 priče koje je priredila Žaneta Đukić-Perišić, a objavio Zavod za udžbenike.

дакле, у једној? којој? библиографски податак? на којим страницама? Да ли је то прича само нађена у заоставштини, или ју је Андрић стварно објавио (где?) 1944. године? али је питање, да ли смемо причу саму да скенирамо па окачимо, јавно, за џ, јер, Андрићево ауторско право још није истекло.

Priča je objavljivana više puta, proverila sam. Čak i prevođena (slovenački, mađarski, bugarski, makedonski). Prvi put u Politici od 19. oktobra 1946. COBISS navodi deset različitih izdanja. Najnovije je u Sveskama Zadužbine Ive Andrića iz 2006, dakle, ne bi se tu moglo govoriti o nekom "otkriću", više o malo skrajnutoj stvari koja nije dospela u fokus naših čitalaca SF-a, a i izgleda mi da je SF element u toj priči vrlo slab.
Title: naravno da je značajno otkriće
Post by: Aleksandar_B_Nedeljkovic on September 29, 2016, 07:28:54 PM
Хвала! Јесте откриће, и то значајно, изгледа да су многи настојали да не виде ту причу чак и кад им је била пред очима, и свакако настојали да не помену да има СФ елемент (иначе бисмо већ много раније чули за њу, у фандому), а Андрић је можда и сам остављао у сенци, пострани, ту причу, да не би изгубио углед писца главног тока. Да не падне на њега жиг једног таквог жанра - - СФ. Јер, да се о тој причи нешто много у јавности говорило, можда он никада не би добио Нобелову награду.
А свакако да је од огромног значаја за његов укупни лик као писца, ако је макар и на трен имао вољу да баци поглед ка будућности. Показао свест да будућност долази.
Гле, из овако малог сајта, овог Либеатиног и Мићиног, овако значајан резултат.
Узгред, ја сам срео Иву Андрића, једном, али нисам ништа с њим разговарао.

Title: Re: Odasvud pomalo...
Post by: Lidija on October 03, 2016, 08:22:59 AM

Space Art Propelled Scientific Exploration of the Cosmos—But Its Star is Fading Fast (

 a serpentine building that snakes through the Connecticut countryside, a strange meeting took place this past July. A group of four scientists from NASA, including an astronaut, a robotics expert, and the agency’s deputy administrator, conferred with some 30 painters, sculptors and poets. Adding an extra layer of mystery to proceedings was the fact that the meeting was hosted by Grace Farms, a faith-based think-tank co-created by an evangelical hedge-fund billionaire.

Tea was served. Thomas Pynchon may or may not have been present.

The aim of this odd confluence was to engage an “artistic response” to NASA’s journey to Mars, the space agency’s ambitious goal of putting a human on the red planet’s surface sometime in the 2030s. To help set the mood, NASA brought some zappy toys to share—a Hololens headset that offered an augmented reality view of Mars, as well as surreal images of winds carving the Martian surface. According to those present, scientists spoke of the necessity of having “an outpost” on Mars to help solve the many riddles of the galaxy. The question they were asking the assembled artists was whether they could help communicate this vision to the public as part of a new program entitled “Arts + Mars”.

Some of the artists were left scratching their heads. Many of them, schooled in the ambiguities and anti-authoritarian verities of contemporary art, saw NASA’s open call for guileless propaganda as being entirely at odds with the art they practice. “The conversation about art was at such a naïve level,” said one attendee, who wished to remain anonymous for fear of rousing the space agency's ire. “It just didn’t seem like NASA was that interested in what we had to say.” What’s more the overtly commercial and exploitative language of the Mars boosters—their mentions of partnerships with private industry and “putting tracks on Mars”—did not play well with their youngish, liberal audience.

There is no doubt that NASA needs some help. The moon landing will celebrate its 50th anniversary soon and the number of people inspired by actual memories of that event is dwindling fast. With no “space race” to offer a geo-political impetus to the expedition NASA desperately needs to engage the millennial generation in their Martian quest for the next 15 years.

Yet when the NASA scientists asked the attendant artists to refrain from posting pictures of the meeting on social media, it seemed to sum up both a generational and a temperamental mismatch. (In an email, a NASA spokesperson said that "participating artists are free to discuss their attendance.")

From a NASA perspective, the secrecy was a budgetary imperative. In 2003, the renowned performance artist Laurie Anderson was appointed NASA’s first “artist-in-residence” with the remit of creating art about the agency’s exploration of space. Republican congressmen quickly seized on the move as a sign of wanton profligacy. “Mr. Chairman,” sputtered Representative Chris Chocola of Indiana on the floor of Congress, “nowhere in NASA's mission does it say anything about advancing fine arts or hiring a performance artist.” There has been no artist-in-residence since and the reverberations were no doubt part of the reason why NASA’s workshop at Grace Farms seemed tentative and vague.

In the not-so-distant past, though, space and art intermingled happily. Artists were crucial to NASA’s development, at times outpacing the science of space travel itself. What happened?

When Art and Science Were Friends

In 1542, the German botanist, Leonhart Fuchs, created a book replete with hundreds of extremely detailed drawings of plants. This was unusual. A pervasive prejudice dating back to antiquity had scorned the usefulness of visual images in scholarship. Writing in his introduction, Fuchs railed against such lunacy: “Who in his right mind would condemn pictures which can communicate information much more clearly than the words of even the most eloquent men?”

From the Renaissance onwards, art and science became inextricably bound together. You can see it in Leonardo Da Vinci’s sketchbooks that he used as laboratories for his thinking, and you can find it 300 years later in John James Audubon’s lushly illustrated catalogue of American birds.

However sometime in the 19th century the introduction of photography and its offspring—cinema, radiography—severed this relationship. Scientists embraced these new technologies for their clarity and dispassionate precision. Artists, meanwhile, felt liberated from having to reproduce the natural world realistically, and began infusing it with their own subjective emotions. Once bosom buddies, art and science slowly drifted apart from each other, without either seeming to mind too much. Science still needed some illustrations, but illustrations now seemed more handmaidens to science than the equal partner they had once been. It’s notable that the greatest of anatomical textbooks, Gray’s Anatomy, published in 1858, is named after its author, Henry Gray, and not its illustrator, Henry Vandyke Carter.

Nevertheless there were still some areas of science that photography could not touch. Chief among them was outer space, which was too far away to be photographed yet too thrilling to be left undocumented.

These subjects required imaginative as well as illustrative skills to help understand them. The space artist was born.

ostatak na
Title: Re: Odasvud pomalo...
Post by: Lidija on October 24, 2016, 09:08:16 AM
Dakle, najzad je i do toga došlo: KSR ima konkretne zamerke na Muskovu posvemašnju palpičnost, jelte. 

Elon Musk is a dreamer, and that’s a good thing, because it takes people with big dreams to do crazy things like travel to Mars. However, a famous science fiction author, who has written about the Red Planet extensively, says that the SpaceX CEO’s plans are, themselves, the stuff of outlandish fiction.

Kim Stanley Robinson, a Hugo Award-winning novelist, who wrote about colonizing Mars in his Mars trilogy — Red Mars, Green Mars, and Blue Mars — spoke to Bloomberg about Musk’s big plans. He was unimpressed.

“Musk’s plan is sort of the 1920s science-fiction cliché of the boy who builds a rocket to the moon in his backyard, combined with the Wernher von Braun plan, as described in the Disney TV programs of the 1950s. A fun, new story,” he said.

Somebody get Musk some aloe vera.

The 64-year-old thought that Musk’s plans, which could involve manned, one-way missions to Mars within a decade that cost $100,000 to $200,000 per ticket, were “not believable, which makes it a hard exercise to think about further.”

“Mars will never be a single-person or single-company effort,” he continued. “It will be multi-national, and take lots of money and lots of years.”

ostatak ovde:
Title: Re: Odasvud pomalo...
Post by: Lidija on October 26, 2016, 07:35:01 AM
Author Sheri S. Tepper (b.Sheri Stewart Douglas, 1929) died on October 22. Tepper began publishing fiction in 1980 with King’s Blood Four, the first in her “Books of the True Game” series. Over the years, Tepper acquired a reputation as a feminist author with publication of “The Awakeners” duology, The Gate to Women’s Country, and The Companions, among others. In 2015, she received a Lifetime Achievement Award from the World Fantasy Con.
Title: Re: Odasvud pomalo...
Post by: Lidija on December 01, 2016, 08:09:10 AM

President Trump Will Lead to Darker, Defiant Science Fiction
                     "People will need it more."

There are undoubtedly some science fiction writers who voted for Donald Trump. But given the genre’s historic purpose and political leanings, it’s safe to say that any science fiction writers who supported the president-elect last week are outliers and perhaps even black sheep. And as the Trump presidency approaches, most science fiction writers are preparing to respond to a changed America — though, should the fears they have about what the next four years might look like come true, they’ll have to readjust their traditional approach to their work.

“I feel like a straightforward science fiction that relies on some idea of the rational future and linear progression and forward motion is no longer possible, or at least no longer interesting,” science fiction author Desirina Boskovich told Inverse. In Boskovich’s 2009 short story “Celedon,” the careless crimes of space colonists come back to haunt future generations on planet, which is exactly the kind of future-thinking allegory which seems even more relevant now than ever.

Though it’s a short story, it’s works like “Celedon” that provide some clue about how authors might respond to the country’s new direction. The challenge facing science fiction writers is how to employ the allegorical power of the genre, without simply descending into escapism.

“I couldn’t help but feeling more serious,” Austin Grossman told Inverse about his immediate reaction to the news of Trump’s victory. “Being more serious doesn’t make things necessarily less funny or less enjoyable, but it changes the stakes. If people aren’t safe, it’s not a game any more, and that awareness is seeping into everything I’m doing now.”

Grossman is the author of three novels, which run the gamut of science fiction and fantasy: Soon I Will Be Invincible, You, and Crooked. From superheroes in a sci-fi setting (Invincible) to a video-game-come to life (You), Grossman’s fiction often trades in subverting genre norms by having fun. And this isn’t the first time he’s had to check his fictional work against distressing events in the real world.

“I ran into something similar way back in 2001,” Grossman said. “When I started writing Soon I Will Be Invincible shortly after 9/11, I was immediately stuck with the question: How is a supervillain different from a terrorist?” He explained that though he initially imagined the novel as being grittily realistic, in reaction to the dour political mood, he went upbeat. “The book became both more personal and more comedic,” he said.

The community of science fiction writing has always been supported not just by its readers and writers, but also by visionary editors. Patrick Nielsen Hayden, a senior editor at Tor Books, is amongst the most prominent. On his person blog, Making Light, Nielsen Hayden collected the reactions of science fiction authors in the days following Trump’s election victory. Monica Hesse, author of virtual reality-focused novel Stray, bemoaned the fact that people did not see Trump’s election coming. “Where have you been?” she wrote. “What do you mean you don’t know this America? Why haven’t you seen it? I’ve seen it. I see it all the time.

Science fiction could be categorized as predictive fiction, but sci-fi stories which deal with the future are more than just glorified crystal balls with plots and characters. Science fiction provides a thinking culture with what the critic John Freeman called “a counter mythology.” This means that the science fiction novels and books in the coming years must — and probably will — run against the ruling politics.

“Science fiction originally came into being in response to a new thing in human history,” Patrick Nielsen Hayden said. “It was the new understanding that not only was the world changing, but also that the rate of change was speeding up. … Science fiction at its best has always been about examining and inhabiting those experiences when the world passes through a one-way door.”

This means that the genre isn’t limited to thought experiments about robots, or dreams of owning a laser gun. Instead, the best science fiction trains our minds differently, allowing us to think outside of current constraints. This, in the years ahead, will be not only invaluable, but will serve as intellectual salvation.

“I don’t want to argue that reading science fiction makes us smarter or morally better,” Nielsen Hayden said. “I personally believe that, but I don’t want to argue it. But I do believe that good storytelling is a positive force in the world. And I really do believe that science fiction and fantasy storytelling makes us, in some fundamental way, a bit more practiced in the ways of a world caught up in wrenching change — and more open to imagining better worlds that might be possible.”

Despite frustrations, clever rising sci-fi star Sam J. Miller shares that sentiment. “What will change, I think, is how people respond to science fiction,” Miller told Inverse. “The future of science fiction in Trump’s America is that people will need it more. As the world grows darker and stranger, we will need dark and strange stories. … To help us hope and imagine better worlds and wondrous technologies, yes, but also to help us grieve, and understand, and grow stronger, and fight back.”
Title: Re: Odasvud pomalo...
Post by: Lidija on December 05, 2016, 08:15:54 AM

Chinese Science Fiction Is the Future of Science Fiction (

Chinese science fiction writers are having more fun with the genre than anyone else, and in fact, might even be producing its best new works. And now, in the years following the success of Liu Cixin’s award-winning novel, The Three-Body Problem, western audiences are starting to take notice.

For an easy introduction to this massive subgenre, see Ken Liu’s new anthology of short fiction, Invisible Planets, which highlights his favorite contemporary translated Chinese science fiction. And for readers who want to dive more deeply, three essays at the end of the book argue over the actual definition of Chinese science-fiction. In his essay “The Worst of All Possible Universes,” Liu Cixin himself believes that The Three-Body Problem actually helped to recontextualize science fiction in China very recently. In 2006, at the time of Three-Body’s publication in China, he wrote, “China’s science fiction market was anxious and depressed. The long marginalization of science fiction as genre led to a small and insular readership.”

Liu suggests that it has something to do with the book’s thick layer of imagination placed atop its realism. Liu implies that an adherence to strict realism is what shackled Chinese science fiction prior to 2006. “Writers struggled to attract readers outside the tribe and felt they had to give up their Campbellian science fiction fundamentalism and raise the genre’s literary qualities of realism.”

Jarringly, this is not unique to China, because what Liu Cixin is talking about is universal to science fiction publishing. If The Three-Body Problem was a big deal in Chinese science fiction in 2006, when Ken Liu’s translation showed up in American in 2014, it was also greeted as a breath of fresh air.

A contemporary science fiction writer is supposed to somehow reach a mainstream audience, demonstrate a convincing grasp of feasible science on the page, and also pay homage to previous sci-fi. If there’s one overwhelming trend from Liu Cixin or any of the other authors in Invisible Planets, it would seem to be that they looked at all those impossible criteria and said, “Fuck it.” And then, they wrote science fiction that could be realistic, but didn’t have to be. Finally, they were having fun with the genre.

Make no mistake, Invisible Planets is 100% Ken Liu’s baby. And though he might be known as the translator of Liu Cixin’s The Three-BodyProblem, the anthology wasn’t exclusively born out of that novel becoming popular in translation. “I had published 40+ translations of short Chinese fiction, and I realized that I had enough material to create a compelling anthology for readers interested in hearing new voices,” Ken Liu told Inverse. “It had nothing to do with The Three-Body Problem other than the fact that one of the stories in the anthology is adapted from a chapter in [that novel.]”

That’s why “whimsy” is the pervasive thread holding all the stories in Invisible Planets together, and “Grave of Fireflies” by Cheng Jingbo is one of its stand-out stories. In it, the author describes a future in which starships are seemingly evacuating the remnants of humanity in a mad dash to find the last remaining stars that might still be burning. Stars are going out left and right all around the universe, and no one knows why. Meanwhile, a kind of portal helps to guide the main character, Rosamund, to safety. “To the south was the Door Into Summer, built from floating asteroids like a road to heaven,” Cheng writes.

Xia Jia’s own story “Night Journey of the Dragon Horse” is another good example: it features a sentient, mechanical creature lumbering through a decayed, vaguely future-dystopian landscape. Xia Jia based the Dragon Horse on “real” dragon horses on planet Earth; it’s a kind of parade float, an attraction that would delight children. Imagining what a living version of a complex parade float might look like wouldn’t occur to most American science fiction writers. Is lack of imagination to blame? More likely, science fiction has been long dominated by western imagery and tropes, meaning everything about the imagination in Chinese science fiction seems fresh.

But how does one define “Chinese Science Fiction”? The essays in Invisible Planets don’t totally agree. In his essay “What Makes Chinese Science Fiction Chinese?” Xia Jia writes that the “disparate stories” found in the anthology “speak of something in common, and the tension between Chinese ghost tales and science fiction provides yet another way to express the same idea.” That’s not to say that there was ever a plan to present one unified theme with this anthology. Editor Ken Liu told Inverse that the book hopefully gives “… an overall sense of Chinese science fiction as a diverse category that includes many themes and approaches,” but Liu stopped short of saying that the book claims any “comprehensiveness” in terms of covering all of Chinese science fiction, ever. “It was conceived of as a showcase for some wonderful works of contemporary Chinese science fiction as gathered by an American writer and fan: me.” Ken Lui said. “I’m an American writer, so I write in the tradition of the Western canon … and I can’t claim that I’m too heavily influenced by any single school of thought.”

Regardless of motivation or total comprehensiveness, Invisible Planets is a wake-up call for a serious fan of science fiction. The message here is: ultra-realistic hard science fiction isn’t the global future of the genre, nor is a blend of literary fiction with borrowed “edginess” from the New Wave of the 20th century. Instead, Invisible Planets puts print sci-fi firmly where it should be: on the edge of what still isn’t quite possible in life, but can be glimpsed in art.

Quoting Gilles Deluze, Xia Jia reminds readers that science fiction is always in a state of “becoming.” There, finally, a true definition for science fiction — Chinese or otherwise might have been discovered. Chinese science fiction’s influence on the rest of the world has opened up a whole new frontier of discovery. Invisible Planets is probably just the beginning.

(Invisible Planets is out now from Tor Books.)
Title: Re: Odasvud pomalo...
Post by: Lidija on January 16, 2017, 09:20:31 AM
Paolo Bacigalupi interview - looking at morality through science fiction
Title: Re: Odasvud pomalo...
Post by: Lidija on January 31, 2017, 07:52:10 AM
Angažovani Čarli  :) :

Policy change: future US visits (

By Charlie Stross

Looking back at the horror show that has been this week's news—the first week of the Trump administration—two things are clear: firstly, Trump is to be taken at his literal word when he threatens people, and secondly, it's going to get worse before it gets better.

Consequently I'm revising my plans for future visits to the United States.

I'll be in New York and Boston for business meetings and Boskone in mid-February (I unwisely booked non-refundable flights and hotel nights before the election), but I am cancelling all subsequent visits for now. In particular, this means that I will no longer be appearing as guest of honor at Fencon XIV in Texas in September.

I'd like to apologize unreservedly to the convention committee; this is not your fault and you did nothing to deserve this. I would like to attend a future Fencon, and if anyone else had been elected President—or if Trump had walked back the hateful insanity once in office—my appearance would be unaffected. But conventions book guests of honor many months, sometimes years, ahead of schedule: so I felt it best to pull out of the committment sooner rather than later, to allow as much time as possible to find and announce a replacement.

As for why I'm cancelling this appearance ... I have two fears.

Firstly, at this point it is clear that things are going to get worse. The Muslim ban is only the start; in view of the Administration's actions on Holocaust Memorial Day and the anti-semitism of his base, I think it highly likely that Jews and Lefists will be in his sights as well. (As a foreign national of Jewish extraction and a member of a left wing political party, that's me in that corner.)

Secondly, I don't want to do anything that might be appear to be an endorsement of any actions the Trump administration might take between now and September. While it's possible that there won't be any more bad things between now and then (in which case I will apologize again to the Fencon committee), I find that hard to believe; equally possibly, there might well be a fresh outrage of even larger dimensions right before my trip, in which case my presence would be seen by onlookers as tacit acceptance or even collaboration.

As for my worst case nightmare scenario? Given the reshuffle on the National Security Council and the prominence of white supremacists and neo-nazis in this Administration I can't help wondering if the ground isn't being laid for a Reichstag Fire by way of something like Operation Northwoods. In which case, for me to continue to plan to travel to the United States in eight months time would be as unwise as it would have been to plan in February 1933 to travel to Germany in September of that year: it might be survivable, but it would nevertheless be hazardous.

I hate closing doors behind me, so I'm not making this a blanket committment to never enter the United State again during this administration. I'll keep the situation under review. Maybe things will improve. Maybe the promising signs of opposition that are emerging will continue to grow and develop into a groundswell, and prevent the bastards from gaining ground. I certainly hope so! I have many friends in the US and I like the country: looking back, I now realize that after the UK it's the nation I've spent the second-longest part of my life in. But what's happening right now is absolutely terrifying, an act of wanton national self-destruction on a scale and significance that puts the UK's own Brexit-related seizure of insanity into the shade.
Title: Re: Odasvud pomalo...
Post by: Lidija on March 01, 2017, 06:36:53 AM


We are excited to announce that SpaceX has been approached to fly two private citizens on a trip around the moon late next year. They have already paid a significant deposit to do a moon mission. Like the Apollo astronauts before them, these individuals will travel into space carrying the hopes and dreams of all humankind, driven by the universal human spirit of exploration. We expect to conduct health and fitness tests, as well as begin initial training later this year. Other flight teams have also expressed strong interest and we expect more to follow. Additional information will be released about the flight teams, contingent upon their approval and confirmation of the health and fitness test results.

Most importantly, we would like to thank NASA, without whom this would not be possible. NASA’s Commercial Crew Program, which provided most of the funding for Dragon 2 development, is a key enabler for this mission. In addition, this will make use of the Falcon Heavy rocket, which was developed with internal SpaceX funding. Falcon Heavy is due to launch its first test flight this summer and, once successful, will be the most powerful vehicle to reach orbit after the Saturn V moon rocket. At 5 million pounds of liftoff thrust, Falcon Heavy is two-thirds the thrust of Saturn V and more than double the thrust of the next largest launch vehicle currently flying.

Later this year, as part of NASA’s Commercial Crew Program, we will launch our Crew Dragon (Dragon Version 2) spacecraft to the International Space Station. This first demonstration mission will be in automatic mode, without people on board. A subsequent mission with crew is expected to fly in the second quarter of 2018. SpaceX is currently contracted to perform an average of four Dragon 2 missions to the ISS per year, three carrying cargo and one carrying crew. By also flying privately crewed missions, which NASA has encouraged, long-term costs to the government decline and more flight reliability history is gained, benefiting both government and private missions.

Once operational Crew Dragon missions are underway for NASA, SpaceX will launch the private mission on a journey to circumnavigate the moon and return to Earth. Lift-off will be from Kennedy Space Center’s historic Pad 39A near Cape Canaveral – the same launch pad used by the Apollo program for its lunar missions. This presents an opportunity for humans to return to deep space for the first time in 45 years and they will travel faster and further into the Solar System than any before them.

Designed from the beginning to carry humans, the Dragon spacecraft already has a long flight heritage. These missions will build upon that heritage, extending it to deep space mission operations, an important milestone as we work towards our ultimate goal of transporting humans to Mars.
Title: Re: Odasvud pomalo...
Post by: Lidija on March 28, 2017, 08:22:10 AM

Sci-fi author John Scalzi on the future of publishing: ‘I aspire to be a cockroach’ (

Two years ago, author John Scalzi signed a $3.4 million deal with leading science fiction and fantasy publisher Tor Books to publish 13 novels over the course of the decade. The novel that kicks off this new contract, The Collapsing Empire, is just now hitting bookstores. For Scalzi, there’s a lot riding on this book: it’s the start of a 10-year collaboration between him and his publisher, at a time when the publishing and bookselling industries have been undergoing significant changes.

This interview has been edited and condensed for clarity.

How does this 10-year deal weigh on your shoulders looking forward? By the time you’re out of it, it’s going to be 2027, the future.

It doesn’t weigh on my shoulders at all. The whole point is that novelists do not have job security, right? You go from book to book, or you’ll sometimes get a two-book contract, or maybe even, “Oh, I’m going to write a trilogy.” But at the end of it, you have to go out into the market and prove yourself again.

In this particular case, literally for a decade, I don’t have to worry about whether I’m going to sell my next book. I don’t have to worry about whether the publisher is going to make a good-faith effort to actually sell the book, that it’s not going to get shoved down a hole somewhere. Rather than a burden of, “Oh my God, now I have 10 books to write” — or 13 books, because it’s 10 adult and three YA — it’s, “Oh boy, now I can write my books, and I don’t have to worry what happens to them from there.” Until 2027, I don’t have to worry about whether I’m going to be able to pay for my daughter’s college, I don’t have to worry about if I fall down a hole, whether I’ll be able to afford my medical insurance, so on and so forth.

It’s about the freedom to say, for the next 10 years, the only thing I have to worry about is writing the books. So for me, it’s great. The night of the election, I woke up the next morning knowing, “The next four years, for better or for worse, are going to be completely different, and there’s probably going to be a lot of turmoil.” And the one thing I thought relating directly to me — I had lots of thoughts not relating to me — was, “Thank God I have that contract.” Because no matter what, I can wait out the next few years.

With concerns about publishers dying off, it’s intriguing that Tor is making this long-term commitment.

I think there’s a number of things going on there. I do think it was signaling. It is Tor and Macmillan saying: “We’re going to stay in business, and we’re going to do a good job of it.” This is part of an overall thing going on with Tor. Tor recently reorganized; brought in Devi Pillai [from rival publisher Hachette]; moved Patrick Nielsen Hayden, who’s my editor, from senior editor to associate publisher; brought in some new editors and some other new folks; and Macmillan basically gave it a huge vote of confidence.

It’s been fun and fashionable to talk about the death of publishing, and certainly publishing has had “exciting times,” I think that’s the euphemism we want to use, over the last decade. But the people who are in it do feel optimistic that not only are they going to be around for the next 10 years, but that they are going to do what they have always done, which is to bring exciting stories and people into the market, to keep people engaged in the genre, and to be a presence.

Right now is an extraordinary time to be an author, because you have the digital renaissance, and audiobooks exploding all over the place. It’s great for authors, but it’s also unsettling. It used to be, you would do X, Y, and Z, and that would lead to your book going out, and then you could repeat that process until it stopped working for you. And now, in addition to conventional publishing, you have micropublishing, you have small presses expanding — like Subterranean Press, which I do a lot of work with — you have the folks who are doing Kindle exclusives, who are actually making a good living. There are lots of options for writers to get their words out there, and develop an audience.

So it’s both exciting and unsettling. Exciting because you can have a career in different ways than you were ever able to have before, unsettling because nobody knows where this is going, or how it’s going to turn out. So Tor saying, “We will be here in 10 years, so will John Scalzi,” is for me, very reassuring, obviously, but also a signal of intent that no matter what happens, they’re still going to be a player. This is just one part of an overall puzzle piece.

How do you anticipate the books you’re writing in the next 10 years changing style and format? Are you planning more straight-up novels or experiments?

I think we’ll experiment some more. We like to think of a past where everything was set in stone, but there have always been eras: the mass-market paperback era, the hardcover era, the digital era. During those times, things worked a certain way, but things changed. I like to say there are dinosaur authors, mammal authors, and cockroach authors.

The dinosaur authors are wedded to a format and distribution system that is waning, so the fortunes of their career will go out with it. So if you’ve always been someone who sold books through supermarket racks, when the supermarket-rack consolidation happened in the ‘70s, that was bad news for you. Same if you’ve always been wedded to bookstores. Borders closes, that’s going to be trouble for you. Mammal authors ride the wave of a new publishing paradigm, like the authors who are pure digital. That’s going to go great for them until it doesn’t.

Then there are the cockroach authors, where it doesn’t matter, they’re going to do just fine, because they’re always going, “Wow, is this what people want? Let’s try this and see how it works, and adapt to it.”

Did you just describe yourself as a cockroach?

I am a cockroach. I aspire to be a cockroach. But in all honesty, what that means is that as a writer, you have to recognize that nothing lasts and things change, that there’s no one time in the history of publishing where everything was one way, and then all of a sudden there was change. It’s always changing. So we will definitely try new things to see if they work. And if they don’t, you don’t do them again, or you wait for the market to come around to them again, whatever. I’m totally open to that.

Nothing ever gets completely replaced, either, you know? The novel isn’t going anywhere. People do like novels, books of 60,000 to 120,000 words or whatever, they like that length, the rhythm of that particular thing. And that’s great. Certainly assume I will be writing those indefinitely, as long as there’s a market for them. At the same time, I wrote an audio novella for Audible, The Dispatcher. And it did really well, so I’m totally open to doing more in that particular format. When we did the short story serialization for The Human Division, that did really well for us, too.

What about The God Engines?

I wanted to write that because I was being pigeonholed as a writer who wrote funny stuff that was light and had snappy dialogue and was sarcastic. The point of God Engines was, I write that stuff because I like it, not because that’s the only thing I can do. I went to Bill Schafer, the publisher of Subterranean, and said, “I want to write something horrible where everybody dies at the end,” and he’s like, “Yes!” And so I did.

You do different things because you’re interested in doing them, and sometimes there’s a market for them, and sometimes there’s not. And you have to have that balance. If you’re a commercial writer, you have to accept the fact that you do want to write stuff that sells, but also as a writer, you have to try to push your own boundaries, or you’re going to trap yourself, and that’s going to screw you when the market changes, when the wind changes. When the wind starts blowing the other direction, you want to be able to put your sails into it, as opposed to being stuck in the same spot.

Serializations seem to be gaining new traction online. What did you learn from serializing The Human Division and The End of All Things online?

We learned that there is an appetite for serialized fiction. We also learned that it’s possible to sell fiction in shorter lengths, that people will go, “Sure, I’ll spend 99 cents on this, or $2.99.” I suspect what we learned was added into the knowledge base that created the publishing imprint, which is digital-plus, which frees us from having to have works at a specific length, so it looks good on a bookshelf. We are now able to try different lengths and get different stories out of that.

We thought that The Human Division was risky, so that’s why we decided to do it in the Old Man’s War universe. [I suggested] “the Avatar method” — James Cameron pushes the technology in Avatar, in such an extensive way that if he had also pushed narrative in an equally extensive way, he could have lost everybody. So he made a conventional story, wedded it to technological advances, and got people to go along for the ride. To the same extent, we were fiddling with format, and to compensate for that, to hold people’s hands while we did this weird stuff, we gave them Old Man’s War, which we already knew they liked and were comfortable with. So it was the content hedging the distribution.

That sounds manufactured, rather than driven by inspiration and the storytelling urge. Especially when you factor in the input of so many people at Tor.

Yes. And this has always been the case with my career, and I’ve never made any bones about it. I’m aware of what my role is with Tor. I am their easily accessible, gateway science fiction author. That is my job. That is why I have a ridiculously long contract for a ridiculous amount of money. Not only do I accept that, but for me, it means I get to do a lot of things I want to do in the way I want to do them, and still pull a few things off.

Did you do anything stylistically with The Collapsing Empire to make it stand apart from Old Man’s War?

Well there are three protagonists, and they’re basically equal players in the book. The way third-person omniscient voice works for each of them is different, and relates to their personalities. So Kiva Lagos, the starship owners’ representative, is profane, sarcastic, and kind of punchy. Cardenia, who becomes The Emperox, is more tentative, and Marce is more observing and taking notes. So it’s not only writing separate characters, but writing the way they apprehend the world.

What challenges do you have launching a big space opera after being known for a big space opera?

Well, the one question I get a lot is, “Is this part of The Old Man’s War universe?” No. And people either respond, “Well, that’s okay,” or, “Oh, we want more Old Man’s War.” There’s going to be at least one more Old Man’s War, because it’s in the contract.

You want it to stand apart from what you’ve done before, right? You don’t want it to be Old Man’s War-like, but everybody is purple-skinned. So you do have to pay attention to your world-building. “Is this something I’ve done before? If it is something I’ve done before, how do I justify it?”

Regardless, people will try to make connections. I have fans who are superinvested in tying the universe of The Android’s Dream and into the Old Man’s War universe. I will get these emails that are paragraphs long, like, “Here’s my theory of how this all ties in, the Grand Unified Theory of Scalzi.” And all you can do is appreciate the effort, right? So there will be people who will try to tie this in. And that’s fine, that’s their prerogative as readers and as fans. But certainly when I’m writing it, I want it to have this completely different space. The governance of the thing is different, the faster-than-light Flow is a different thing than a Skip Drive. For me, it has a lot more in common with Dune, right? Particularly because it’s a mercantile empire.

What are your long-term plans with The Collapsing Empire’s world?

We’re definitely locked in for at least one more sequel. There might actually be three books in the series. But the thing about The Collapsing Empire is that they’re fighting an imminent catastrophe. Ultimately, there is going to be something that entirely changes their world. And the good news for that is that it does make this series finite. There’s only so far that it can be dragged out. It’s not going to go out to 20 books. If we get to three, that’s going to be it. We may just end up having two, because that’s what I’m contracted for, and the story may just resolve itself at the end of book two. I think that’s fine. People do love inhabiting these worlds, but there’s something to be said about, “It’s going to be X length, and if you want more in this universe, you’d better be writing fan fiction.” [Laughs]

How have you improved since your first novel?

I worry about fewer things than when I was starting off. I mean, I have an audience now, I have the faith of a publisher, I am assured that what I write is going to get fairly large play within the universe of fantasy and science fiction publishing. I don’t feel like I have to prove myself, or jockey for position. I don’t know that much has changed with the writing. It’s still just, “Sit your ass in a chair, make it up as you go along,” which is the way I’ve always done things. I’m a better writer now than I was when I wrote Old Man’s War, when I wrote Agent to the Stars. It’s obvious to me, at least in terms of the flow of the story, and the construction of the novels themselves. But I don’t know that it’s immediately visible to anybody who is not functionally engaged in writing, editing, and publishing. Part of the job is not to show the seams.

One thing I think has been consistent across 20 years is my voice. The thing that has changed for me is being comfortable with the fact that I have stories I want to tell, so I have the freedom to say them the way I want to. That’s in contradiction to where I was like, “My job is to be a commercial writer and to write stuff that sells.” But the two aren't necessarily in opposition. I’ve always written in that approachable style. But I guess the difference is, when I wrote Old Man’s War, I went into a bookstore to see what was selling, right? And I was like, “Oh, military science fiction, I’ll go write military science fiction.” These days — and this is hugely egotistical — I don’t worry about what other people are doing in the genre. I don’t worry about what the next wave is, what’s coming up, what’s peaked. I just write what I want to write, and I assume the market is going to accommodate me.

What does the future of the Old Man’s War series look like?

I have no idea! It just exists on a contract. I wrote four books into Old Man’s War, and then I walked away for five years. And part of the reason was, I had no idea where to go with it from there. It wasn't that I was done with this universe, it was more, I have no idea what to do in this universe. And I didn’t want to be one of those dudes who’s like, “And now, another Old Man’s War universe,” and just crank them out.

What do you think the state of science fiction is right now?

I think it’s very healthy. For TV, film, and video games, it’s great, because so many things in those genres are dominating in their respective fields. I think it’s better now in publishing than it has been, both in terms of quality and quantity of work. After literally decades of science fiction and fantasy publishing being left behind on the wave TV, film, and video games were riding, publishing is finally beginning to catch up. People have decided it’s okay to be seen in public reading fantasy and science fiction. Things like Game of Thrones and The Expanse are a signal that they are acceptable. Just like Fifty Shades of Grey made erotica respectable again. You could read Fifty Shades of Grey in public, and no one would make fun of you for reading erotica. Game of Thrones made it okay to read fantasy in public. Things like The Expanse made it okay to read science fiction in public.

You’re very outspoken about social issues and politics. What do you see happening to the arts in the current political climate?

Well, I think two things are going to happen. Once again, we’re going to have an attempt to purge arts from the governmental budget, “Because fuck you, that’s why.” I suspect art is already being made now in protest. We’re going to get a lot of protest art. One of the things that just drives me up the fucking wall are the people who are like, “Wow, there’s going to be such great art in the Trump era.” You know what? There would have been great art in the Clinton era, too. This is not the argument for incipient fascism in our country.

But it’s also difficult. I was two months late turning in The Collapsing Empire, because I was watching the whole thing with the elections, and I was so stressed out. I didn’t know what the hell we were doing with ourselves. I should’ve been writing, and I was just watching Twitter and CNN and everything else. It was really hard to concentrate, and I was like, “I can’t wait for this election to be done.” Now I’ve got three books to write this year, and it’s still incredibly hard to concentrate. I went to a movie with my wife last week, and when we got out, something had exploded that would have been a monthlong scandal in any other administration, but in this administration, it was “Here’s today’s outrage.”

You’ve been posting about optimism recently. What are you hopeful for in the future of science fiction and writing in general?

Oh I’m optimistic. I mean, I’m angry at the state of the world. This was entirely avoidable, like, “Don’t stab yourself in the eye!” “What do you mean, like this? You can’t tell me not to stab myself in the eye! This hurts, why am I doing this? Because you told me not to.”

But the effect of this election, the immediate response of people going “Oh, hell no,” has given me reason to be optimistic. We’re going to go through a world of shit, there’s no way around it. Our tunnel has been made, and we’ve got to muck through it. It is an argument about what sort of nation we are.

I think to a smaller extent, a lot of what our nation and the world are going through, we had a very small, localized version of it over the last couple years of science fiction. There were a number of bad actors, who had a point of view and managed it poorly. And then you had the people who were actively malicious, and used that first group of people to plant as many bombs as possible. The result was, science fiction has come out of it with a stronger sense of “No, as a community, we are for as many voices as possible. We are for hearing the voices that are not otherwise heard, imaging the scenarios we might not otherwise imagine.” So we came out of that stronger. It was a fight we didn’t need to have, but we had it anyway.

We have a lot of art that is going to set the agenda for a decade or more. I’m optimistic about science fiction because we have this multiplicity of voices. It’s not just me, or George R.R. Martin, or Brandon Sanderson, or James S.A. Corey. It’s N.K. Jemisin, Alyssa Wong, Charlie Jane Anders, any number of people who in a previous era would have struggled to make their voices heard. And instead of them struggling, they are at or near the top of the field.

We’re a better genre because of it, and we’re better as art because they are on the same level as I am, or Neil Gaiman is, or George Martin is. I feel optimistic that we have affirmed ourself as a genre that says, “We are open to anyone, and anybody can excel in it, and anybody can tell a story.” I am casting this more optimistically than someone who is not me, and in my position, might. But ultimately, I think in the long term, we’re going to see some really good things out of science fiction and fantasy in the next 20 years. And I’m glad I’m here for it.
Title: Re: Odasvud pomalo...
Post by: Berserker on March 30, 2017, 07:57:46 PM
Libe, da li si beše čitala nešto od Johna Scalzija? Nešto vidim da Nightflier nije posebno impresioniran njegovim Collapsing Empire-om, a i meni nešto bude sumnjivo kad pročitam ugovor po kome treba da isporučiš 13 knjiga za 10 godina, što će reći po jedno bebče na svakih 9 meseci, a da to ima nekakav kvalitet.
Title: Re: Odasvud pomalo...
Post by: Lidija on March 31, 2017, 07:42:53 AM
Pročitala sam samo dva njegova naslova, i za oba mogu da kažem kako su utisci vrlo pozitivni. Istina, prvi naslov je spejs opera, The Old Man's War, i totalno jeste standardna po pitanju forme, pa neko sa malko većim očekivanjima možda i ne bi bio toliko oduševljen, ali priznjem da mi se stvarno dopala ta ideja da u svojim matorim danima čovek dobije šansu ne samo da iznova proživi svoj život, nego još i pride u mladom telu, sa svim životnim iskustvom na raspolaganju... pa ko može da na takvoj premisi omane?  :) Ali nisam išla dalje prve knjige, tako da ne garantujem van toga.

Drugi roman je Lock In, i jeste odličan, ima baš sve što od takvog SFa tražim, ima super premisu i super karakterizaciju, intrigantan zaplet i – mehaničke robote. Pa mislim!!  ;D

Tako da, Sclazi je meni veoma zabavan i to u vrlo profi i poštenom maniru, bez vaćarenja i pretencioznosti, vrlo vrlo opuštajući, pa otud i moje iskrene preporuke za Lock In. A što se ovog ugovora tiče, pa, moguće je da Scalzi već ima poveliku zalihu poludovršenog produkta, jer jeste prolifičan, pa otud i silno Torovo poverenje u vremenski ovako zbijen plan... u svakom slučaju, overiću stand alone naslove i verujem da me neće razočarati.

Title: Re: Odasvud pomalo...
Post by: Lidija on April 18, 2017, 09:10:24 AM
... i malo zabave... :)
Title: Re: Odasvud pomalo...
Post by: Lidija on April 30, 2017, 03:22:04 PM
Title: Re: Odasvud pomalo...
Post by: Lidija on May 18, 2017, 08:36:45 AM

The Secret History of William Gibson’s Never-Filmed Aliens Sequel (

Title: Re: Odasvud pomalo...
Post by: Lidija on June 28, 2017, 08:07:44 AM
Ovo je već iz ’živimo SF’ domena: dokumentovano rađanje novog ostrva. Doduše, blizu je obale pa se teritorijalna pripadnost ne dovodi u pitnje, ali svejedno, kao da sledi novum iz romana The O.D. (Chris James) gde je nova kopnena masa izronila taman van granica zvanično priznatih teritorijalnih voda Engleske i Francuske, pa se otud ostrvo i izborilo za državnu samostalnost... i svoju državnu anarhiju, naravno.  :)

New island appears off coast of North Carolina (

Title: Re: Odasvud pomalo...
Post by: Ghoul on June 28, 2017, 01:52:11 PM
samo da nije r'lyeh iz zova ktulua...
Title: Re: Odasvud pomalo...
Post by: Miodrag Milovanovic on June 28, 2017, 03:24:07 PM
A posle kazu globalno otopljavanja i porast nivoa svetskog mora...
Title: Re: Odasvud pomalo...
Post by: Lidija on June 29, 2017, 07:26:31 AM
Pa dobro, bitno je da svi mi možemo da biramo, il' živimo esef il' horor, a od glave višak ne boli ionako...  :-* ;D
Title: Re: Odasvud pomalo...
Post by: Lidija on July 03, 2017, 08:38:29 AM

Hampton Creek is now growing its own meat in labs—and it says it will get to stores first (

Hampton Creek—a company that built its name on plant-based condiments and vegan-friendly cookie doughs—today revealed that, for the last year, it has been secretly developing the technology necessary for producing lab-made meat and seafood, or as the industry likes to call it, “clean meat.” Perhaps even more surprising is that Hampton Creek expects to beat its closest competitor to market by more than two years.

“By the end of next year, we’ll have something out there on the marketplace,” Josh Tetrick, CEO of the company, tells Quartz. Until now, only one of the handful of global startups developing “clean meat,” Memphis Meats, has openly talked about getting a product to market and that was by 2021.

Since it was founded in 2015, Memphis Meats has raised at least $3 million from five investors for the development of its meat products, according to Crunchbase. By contrast, Hampton Creek—just a 20-mile drive from its Silicon Valley rival—has raised more than $120 million since 2011. It’s one of Silicon Valley’s unicorns—a company that has a valuation that exceeds $1 billion.

“The fact that Hampton Creek has so many resources at its fingertips is very promising for speeding up the commercialization of clean meat,” says Paul Shapiro, the author of a forthcoming book on meat alternatives and vice president of policy at the Humane Society of the United States.
Now that Hampton Creek has unveiled itself as the latest entrant in that space, competition to reach consumers first will heat up. And once these products do get to supermarkets, it will open the door for a three-way battle for meat-eater dollars, as consumers will have a choice between three different products:

Traditional meat, from animals that were raised, slaughtered, and processed.
Plant-based meats, made from plant proteins (including heme) to mimic the look, texture, and taste of traditional meat.
And lab-grown meat, which is being developed in industrial vats to look, feel, and taste like traditional meat and have the same molecular make-up.

In the eyes of the people pushing the development of plant-based and clean meat products, this new crop of foods will revolutionize how meat is made and offer a clear path to feeding people across the globe in a way that emits less greenhouse gas and ends animal suffering.

“Once we have clean meat that is cost-competitive with animal-based meat, that will be the beginning of the end of all the harms of industrial agriculture,” says Bruce Friedrich, who leads the Good Food Institute, which supports and lobbies on behalf of meat alternative companies.
Title: Re: Odasvud pomalo...
Post by: Lidija on July 13, 2017, 08:46:19 AM

Futuristic transport system Hyperloop One declares first successful test (

Title: Re: Odasvud pomalo...
Post by: Lidija on July 13, 2017, 09:55:52 AM
Naravno, znam da nije do SFa da predviđa budućnost, ali svejedno, lepo je znati da nije odvojen od stvarnosti.  :)

Posle The O.D., sad evo i KSRov New York 2140 dobija veniru istinitosti:


Trillion-ton iceberg snaps off Antarctica (
Title: Re: Odasvud pomalo...
Post by: Aleksandar_B_Nedeljkovic on July 13, 2017, 02:03:04 PM
Наравно да јесте на СФ да предвиђа будућност. И то са ослонцем на научни поглед на свет, научни начин размишљања. Ко други, у књижевности, то може? Будућност је природна главна територија научне фантастике. И треба да буде.
Било би нормално да једна трећина књижевности буде о прошлости, једна трећина о садашњости, и једна трећина о будућности.

Него, цењена Либеат, шта мислите о овоме? Је ли паметно упуштати се у ово објављивање своје научне фантастике за Џ    (то значи за џабе), у Киндл формату, преко Амазон Букса?? Ово је њихова реклама:

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Free File Conversion: Upload your manuscript and convert it into a Kindle eBook for free.
Track Worldwide Sales: Track sales as they happen and use our real-time insights to grow your audience.
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Title: Re: Odasvud pomalo...
Post by: Lidija on July 13, 2017, 02:45:02 PM
Pa, slažem se, futuristični deo SFa voli da se bavi ekstrapolacijama zatečenog stanja današnjice, i moram da priznam kako je taj domen meni lično veoma drag, pogotovo u svom near-future formatu. Ali danas više ne insistiram da ta predviđanja budu tačna, pošto sam svesna da je tu uvek u igri užasno mnogo faktora od kojih mnogi budu bukvalno neprepoznatljivi u svojim ranim fazama. No ipak, uvek me iznova oduševi pronicljivost nekih SF autora kad naša stvarnost potvrdi da su gledali u ‘pravom smeru’, što bi se reklo.  :)

A što se  Kindle Direct Publishing fenomena tiče, mislim da može biti vrlo koristan u promotivne svrhe. Naravno, entropija pobeđuje svuda i uvek, pa nekontrolisani rast korpusa svakako utiče na sve manji povrat po pitanju korisnosti, i na kraju tu bude tako mnogo dela da čoveka naprosto mrzi da se probija kroz sve njih, to sve u potrazi za nečim eventualno dobrim. Mislim da je većina ljudi spremnija da rađe obrati pažnju na dela koja imaju dobre preporuke i rivjue, negoli da se sami lomataju kroz tolike gomile makar i besplatnog teksta.

Tako da… u teoriji ovaj fenomen svakako ima mnogo dobrih strana, ali u praksi povrat korisnosti redovito bude negde u rangu uloženog, ako već ne i nešto manji (jer autori tu ipak ulažu svoje vreme i trud), pa verujem da taj oblik izdavaštva koriste uglavnom ljudi koji ne očekuju komercijalni povrat. Što je šteta, naravno, jer manjak autorske ambicije u tom smislu diktira i manjak angažmana po pitanju same kvalitete objavljenog teksta.

Title: Re: Odasvud pomalo...
Post by: Aleksandar_B_Nedeljkovic on July 13, 2017, 03:49:44 PM
Па је ли то читаоцима бесплатно? Ја сам мислио да писац објави бесплатно, а онда читаоци морају да плате нешто типа 1 долар?? нисам проучио то, надао сам се да Ви знате. И – да ли има и на српском, хрватском итд? Или је    English only?
Title: Re: Odasvud pomalo...
Post by: Lidija on July 13, 2017, 04:13:49 PM
Pa, takvi samizdati nisu nužno besplatni za čitaoca, osim ukoliko sam autor ne odluči da dopusti besplatna skidanja. Ali Amazon ima koncept pretplate (unlimited paket, recimo) sa kojim za samo 10 dolara mesečno možete da čitate ogroman deo korpusa, i ovi samizdati su redovito u njemu. Naravno, za te pare vi ne kupujete samu knjigu, nego samo pravo na njeno čitanje, da tako kažem: kad je skinete na čitač, ona tu bude neko vreme dostupna, i za to vreme možete da je čitate. A pošto kindle aplikacija "pamti" koliko ste strana prelistali (makar ih i ne pročitali), autorska nadoknada se na taj način obračuna.
Lično ne koristim tu pretplatu, nego naprosto direktno kupim knjige koje mi se dopadnu i čije autore želim finansijski da podržim. :)

Ne znam da li to funkcioniše i za knjige na našem jeziku, ali ne vidim razloga zašto ne bi...
Title: Re: Odasvud pomalo...
Post by: angel011 on July 13, 2017, 04:56:18 PM
Moguće je zaraditi od Kindle Direct Publishinga, samo treba uzeti u obzir da tu pisac više nije samo pisac, već i izdavač, i da je na njemu da se bavi svime čime bi se, teoretski, izdavač bavio: unajmljivanjem urednika i lektora, nalaženjem ilustratora koji će da uradi naslovnu i plaćanjem iste, pravilnim formatiranjem, marketingom, marketingom, marketingom...
Title: Re: Odasvud pomalo...
Post by: Lidija on July 13, 2017, 08:13:44 PM
Upravo tako.
E sad, imamo dosta primera kad ta samizdat varijanta pisanja itekako uspe, kao kod Weira, recimo, ili Howeya, ili čak i mog japanskog favorita Taiyo... ali na svaku takvu uspešnu priču gomila se bukvalno desetine hiljada u najmanju ruku osrednjih pokušaja, i prilično mi je teško proceniti srazmeru. Možda sam malko staromodna po tom pitanju, ali i dalje verujem kako klasični model izdavaštva ipak ima određenu prednost.

Nego, ne znam da li je tebi zapalo za oko, ali u zadnje vreme nailazim na drugu krajnost: tu i tamo naletim na naslov koji je bukvalno enormno skup, recimo blizu 50$, a pri tom ima samo digitalnu verziju. Naravno, nema ni pirata ni polovnjaka  u opticaju, pa ne mogu da provalim o čemu se zapravo radi.
Title: Re: Odasvud pomalo...
Post by: angel011 on July 13, 2017, 09:26:54 PM
Ima svega, ima i štanceraja da se uzmu pare... Znam ženu, Britanku, kopirajterka, pametna, duhovita, zasukala rukave i u roku od godinu dana napisala i objavila 200 knjiga (erotika, svaka je dužine novele ili nešto duže priče). S obzirom na brzinu pisanja i izbacivanja, nije tu bilo ni neke lekture (nije nepismena, daleko od toga, al' zamisli šta se sve potkrade u takvoj brzini), ni profi naslovne, nije se ni marketingom nešto mnogo bavila... Ali, na tu količinu, ispadne joj nekih 200-400 dolara mesečno, a da sad više ništa tu ne radi.

To za pedesetak dolara nisam videla, imaš neki primer?
Title: Re: Odasvud pomalo...
Post by: Lidija on July 14, 2017, 07:32:18 AM
Eh, to je već čupavo… po pravilu, takve knjige ne ostanu dugo na amazonovoj listi.
Sad mi žao što ih nisam bukmarkovala, ali recimo ova, kad sam je našla na ‘new releases’ filter, bila je jedna od upravo tako skupih.


Lamarck's career as a botanist comprised about twenty-five years. We now come to the third stage of his life--Lamarck the zoölogist and
evolutionist. He was in his fiftieth year when he assumed the duties of his professorship of the zoölogy of the invertebrate animals; and at a
period when many men desire rest and freedom from responsibility, with the vigor of an intellectual giant Lamarck took upon his shoulders new
labors in an untrodden field both in pure science and philosophic thought.
Title: Re: Odasvud pomalo...
Post by: Lidija on July 14, 2017, 07:40:50 AM
evo jednog primera danas:

dakle, samo kindle verzija, 88.35 dolara, a autorka (triju jednako overpriced naslova) se imenom ne da izguglati kako bog zapoveda....


In pure disbelief he saw the knight hidden in the shadows of the trees, dressed in his usual chainmail but missing the telltale Camelotian red cloak. His brown hair stuck to the sweat on his cheeks and his eyes were wide with wordless shock.  (

Title: Re: Odasvud pomalo...
Post by: angel011 on July 14, 2017, 08:37:30 AM
E, za to sa Merlinom sam našla:

Skroluj do kraja posta, i videćeš početak linkovanog romana.

Overpriced fanfiction, po svoj prilici.  :)
Title: Re: Odasvud pomalo...
Post by: Lidija on July 14, 2017, 08:48:38 AM
Da, ova knjiga kao da je poprilično simptomatična, to ne samo po pitanju cene, nego i autorskog profila, recimo.
Također, ako skroluješ dole do impresuma, videćeš da je knjiga locirana u ‘alternativnu istoriju’ – mislim da sam većinu takvih knjiga našla upravo u tom segmentu.
naravno, niko normalan to ne kupuje, pa mi je cela ta misterija time veća...
Title: Re: Odasvud pomalo...
Post by: angel011 on July 14, 2017, 09:53:24 AM
Verovatno je sistem "Ako prođe, prođe".  :)

EDIT: Nego, jesi li primetila dužinu tih knjiga? 2-3 'iljade strana!  :o
Title: Re: Odasvud pomalo...
Post by: Lidija on July 14, 2017, 04:50:14 PM
Da, sad vidim... ali za one ranije naslove se ne sećem da su bili ikako vanstandardni. A jesam zagledala, to bar onih zadnjih nekoliko.
Ali svejedno, čak ni kompleti koje sam kupovala nisu bili tako skupi. Bukvalno se ne sećam da sam ikad platila ijedan naslov fikcije više od 30$. Ovo je totalno van pameti.
Title: Re: Odasvud pomalo...
Post by: angel011 on July 14, 2017, 08:57:59 PM
Zanela se fanfikšn autorka...  ;D
Title: Re: Odasvud pomalo...
Post by: angel011 on July 16, 2017, 09:30:27 AM
Kad smo kod Amazona, nešto mnogo gore od fanfikšna po suludoj ceni:
Title: Re: Odasvud pomalo...
Post by: Lidija on July 16, 2017, 10:54:49 AM
a-ha! izvesna gospojica po imenu Lionel Shriver je upravo u tom fenomenu videla skori sunovrat ne samo Amazona, nego izdavaštva generalno!

dakle, eto meni još jedne prilike da promovišem fenomen "živimo SF"!  ;D

Title: Re: Odasvud pomalo...
Post by: angel011 on July 16, 2017, 11:25:33 AM
Dodato na spisak za čitanje... Jednog dana.  ;D
Title: Re: Odasvud pomalo...
Post by: Lidija on August 23, 2017, 08:56:24 AM

China is going to build a Mars simulation base in its far western desert (

Tourists will soon be able to see what it’s like to live on Mars…in western China. Plans were announced this week to build a Mars simulation base in the desert of Qinghai, a remote province in the country’s far northwest.

The base, known as ‘Mars Village’, will incorporate educational, scientific and touristic elements, including a ‘community’ area and a ‘campsite’. Authorities said there may also be a TV and film set for sci-fi productions.

Mars Village will be located in Haixi prefecture, in a geological area known as the Qaidam Basin. Located on the northeast side of the Qinghai-Tibet Plateau, the area is a high-altitude desert with climatic and topographical conditions that researchers felt were suitable to simulating what a human experience on Mars might be like. In particular, the area’s pointed and unusually-shaped, eroded rock formations, known as yardang, appear similar to those found on Mars.

The announcement comes as China’s space programme continues to expand. Last year, the Chinese space agency vowed to put a probe on Mars by 2020 and released mock-up images of the country’s planned Mars exploration rover. In May of this year, a group of Chinese postgraduate students began a year-long study living inside a lunar simulation pod.
Title: Re: Odasvud pomalo...
Post by: Miodrag Milovanovic on August 23, 2017, 01:26:24 PM
Gledajući na guglu, neki delovi u Kini zaista više liče na Mars nego na Zemlju...
Title: Re: Odasvud pomalo...
Post by: angel011 on August 25, 2017, 10:20:22 AM
Misteriozni YA bestseler za koji niko ne zna... Jer je cela stvar prevara.
Title: Re: Odasvud pomalo...
Post by: Lidija on September 05, 2017, 12:19:37 PM

Voyage to the Otherworld: A New Eulogy for Ray Bradbury

By Margaret Atwood  (
Title: Re: Odasvud pomalo...
Post by: Aleksandar_B_Nedeljkovic on September 05, 2017, 03:54:05 PM
Хвала на информацији, тј. линку, Либеат.
Хм. Па, добро, он јесте био претежно фантази писац, али је имао и права, баш, СФ дела, као што је Фаренхајт 451. Али, гле, Атвуд се потрудила, баш, да то не помене, да му не дозволи СФ идентитет.

Title: Re: Odasvud pomalo...
Post by: Ghoul on September 05, 2017, 04:18:46 PM
Али, гле, Атвуд се потрудила, баш, да то не помене, да му не дозволи СФ идентитет.

joooj, šta nam rade!
IDENTITET nam je u krizi!
Title: Re: Odasvud pomalo...
Post by: Lidija on October 24, 2017, 10:07:55 AM
For the first time ever, influential British scientist Stephen Hawking's doctoral thesis is available to the public -- if you can get the web page to load.

In honor of Open Access Week, the University of Cambridge on Monday put the 1966 PhD thesis, "Properties of Expanding Universes," on its open access repository. Shortly after it went live, requests to view the research crashed the website.
As of Monday afternoon, the main research page was reachable after several minutes, but nothing on the page was.
"We have had a huge response to Professor Hawking's decision to make his PhD thesis publicly available to download, with almost 60,000 downloads in less than 24 hours," spokesman Stuart Roberts said. "As a result, visitors to our open access site may find that it is performing slower than usual and may at times be temporarily unavailable."

 :) no, ako se sajt oporavi, ovo je adresa:
Title: Re: Odasvud pomalo...
Post by: Lidija on November 09, 2017, 09:21:36 AM

Richard Browning sets world record in jet engine 'Iron Man' suit (

A real-life flying man reaches a speed of 32mph to set a world record with his body-controlled jet engine power suit.


Browning set a Guinness World Record for the fastest speed in a body-controlled jet engine power suit this week.

The founder and chief test pilot of British tech company Gravity Industries reached a speed of 32.02mph on his third attempt at Lagoona Park in Reading.

Then he mis-timed a turn and dropped into the lake.

It mattered little by then, however, as he had already made history.

Adjudicator Pravin Patel from Guinness World Records was on hand to make sure that Browning's speed was measured accurately over at least 100 metres.

The "Iron Man" suit is made up of six kerosene-fuelled micro gas turbines, which each have 22kg of thrust.

It is controlled solely by body movement so Browning had to practice core strength exercises before his record attempt so he was able to balance in the air.
Title: Re: Odasvud pomalo...
Post by: Lidija on April 03, 2018, 09:46:50 AM
Elem, naišla sam na ovaj vrlo zanimljiv tekst koji je ujedno blog/esej/lament/apel, i, verovatno, još par nekih stvari pride…

KATARINA KOSTIĆ: Bolje da vas umesto loše knjige nadživi drvo

Ono što je Agata Kristi (Agatha Christie) rekla, da treba pisati i ako ne umemo i ako nam se ne dopada to što pišemo i ako nam se baš i ne piše, istrgnuto je iz konteksta tako da legne svima koji bi knjige trebalo samo da čitaju. Zato ne valja citirati pred bubačima.

(Iz istog razloga ne valja poklanjati “Misli velikana” i “Bisere mudrosti” o rođendanima, šta će nam još ta odgovornost u životu.)

Nego, to bivanje piscem —

Vidite, dogodiće vam se priča. Male su šanse da vam se ne dogodi.

Znate onu Pračetovu (Terry Pratchett) ideju o idejama koje zuje univerzumima i “padaju na pamet”, bilo pužu ili kamenu, polupismenom kočijašu ili lekarki, svejedno? Iako danas ovi trendi spisatelji poriču postojanje inspiracije i tvrde da je veština sve, iako bi se trebalo složiti s njima, pratiti duh vremena, ne moramo ni to. Pretpostavimo da inspiracija, u manje-više tradicionalnom smislu, postoji. U tom slučaju, inspirisan može biti svako. Samo, ne može svako biti umetnik.

Dogodiće vam se priča, poverovaćete da ste joj dorasli, pisaćete. Ali, ako niste pre pisanja čitali, s pažnjom čitali prethodnike, a ne samo savremenike sličnog čitalačkog iskustva, ne morate pisati, još. (I ako jeste načitani, po kom god sistemu izmerili načitanost, ne mora od vas nužno biti dobar pisac.) I kad vam drugari pročitavši rukopis zato što su drugari kažu da nemaju zamerke, ne morate im verovati.

Ipak, dogodiće vam se priča, poverovaćete da ste joj dorasli, pisaćete, i to će neko objaviti.

Ima ih koji se zovu izdavači po drugoj tvorbeno-semantičkoj liniji. (Izdaće vas, još kako!)

Ima i ko će, uvek ima, reći da je samo izdavač kriv, da vi niste dužni da znate pravopis ni da umete stila ni da ste se sreli sa teorijom književnosti, i to neće biti laž, jer oni u to veruju, ali biće daleko od istine koliko i vi od književnosti sa malo kapitalnijim K, jer moraš znati zanat ako ćeš se njime baviti, a nije da se moraš baviti baš ovim.

Na primer, kad vam je prvi roman kao finansijski izveštaj iz saobraćajnog preduzeća u stečaju, a hteli ste da bude akcioni, ne morate napisati drugi, ali verovatno hoćete, ohrabreni komšijinim Goodreads nalogom, okuraženi samim serdarima i vojvodama iz iste edicije, obodreni nedostatkom negativnih komentara. Ne dajte se obodriti nedostatkom negativnih komentara, ne mešajte ga sa nedostatkom nepovoljnih utisaka.

Živimo u kulturi nezameranja zato što svi očekujemo dan kad ćemo biti nečiji komšija pisac i nečiji sused na sajamskom izdavačevom štandu. Nezameranje je tiha pošast kojoj prija umerenopristojna klima — od “nema veze” do “možda mi zatreba”.

Zato, knjige radi, između pisaca i kritičarâ ne sme biti ljubavi, ne sme biti drugarenja, ne sme biti umerenopristojne klime.

I zato — ovo je neko morao da vam kaže — ako niste spremni da učite, da tražite urednika kao Diogen (Diogenēs) čoveka, kad vam se dogodi priča, kada poverujete da ste joj dorasli, setite se da ne morate i vi biti pisac.

Bolje da vas umesto loše knjige nadživi drvo.

Jer, ako se nastavi ovako, kultura nezameranja, u koju se umotavamo kao da smo paket s AliExpress-a, jedina je kultura koja će nam ostati.
Title: Re: Odasvud pomalo...
Post by: Lidija on April 04, 2018, 09:32:39 AM
Elem, dakle, vrlo zanimljiv tekstić, koji otvara mnoga pitanja; prvo bi svakako bilo – a kome je zapravo namenjen?

Formalno se obraća piscima, ali svakako autorka teksta zna da to nije plodno tlo samokritičnosti… recimo da autorima po pravlu nedostaje mehanizam koji bi bio neophodan da se sagleda (i primeni) ovde savetovani pristup.

Ako je namenjen kritičarima – pa, mislim da su oni aktivni u odocneloj fazi u kojoj rečeno delo već postoji, a time je i malo vajde od njih, čak i kad su besprekorni, a retko su to... 

A ako je namenjen konzumentima, pa, to je onda još i najjalovije, jer pleb se apsolutno ne da edukovati ovim putem, a komšije i rođaci ionako tu i ne spadaju…

Kome je, dakle, ovaj tekst ponajviše namenjen? (pitanje nije retoričko, stvarno razmišljam o tome još od juče… )

E sad: možda najbitniji aspekat kog je tekst mogao da kontemplira je afirmativna snaga treće umetnosti. To je još uvek teren na kom je afirmacija ekstremno lako pristupačna čak i najneukijem i najnetalentovanijem pretendentu. Ali trebalo bi imati na umu kako to ne važi samo za najniži nivo produkcije same populističke književnosti, to važi i za akademiju.
Title: Re: Odasvud pomalo...
Post by: angel011 on April 04, 2018, 10:06:08 AM
Meni najviše deluje kao rant, formalno namenjen piscima, ali uglavnom samo rant.  :)
Title: Re: Odasvud pomalo...
Post by: Lidija on April 04, 2018, 10:10:22 AM
Pa da, liči na to… recimo, s druge strane, ja sadržaj razumem i lako  vidim da je autorki ‘srce na pravom mestu’, što bi se reklo, dakle – verujem da ima svrhe sve to što ona potencira, tako da me u principu zbunjuje samo forma tog saopštenja…
Title: Re: Odasvud pomalo...
Post by: Lidija on September 14, 2018, 12:13:47 PM

A pioneering artificial intelligence has been used to spot dozens of mysterious signals coming from deep in space. (

The new AI spotted 72 previously undiscovered "fast radio bursts" emanating out of distant galaxies, according to Breakthrough Listen, a program searching for proof of life elsewhere in the universe.

FRBs have long been thought to be one of the mysterious phenomena in the universe. They are intense blasts of radio emissions that can be detected on Earth and then switch off.

Scientists do not know what is causing them, or how they might have come about. And actually spotting them can be incredibly difficult: only a relatively limited number of them have ever been detected.

But scientists have now spotted 72 of the blasts coming from the same place. And they did it using an artificial intelligence that scanned through existing data and found numerous detections that had not yet been found.

The FRBs are coming from the only known source that has sent out repeating messages, with the rest of the blasts only ever being detected once. That makes it an especially interesting source for scientists, who can watch the spot in the hope of learning more about the signals.

The bursts emanating from 121102 are thought to be coming out of a galaxy three billion light years from Earth. But it is still unclear what is actually causing them: suggestions have included everything from highly magnetised neutron stars to messages being created by alien technology.

The AI that found the burst looked through 400 terabytes of previously collected data to discover them. It was trained to look for the characteristics of the blasts and then try and spot them in the dataset, looking through it far more quickly than a human ever could.

“Not all discoveries come from new observations,” remarked Pete Worden, Executive director of the Breakthrough Initiatives which include Listen, “In this case, it was smart, original thinking applied to an existing dataset. It has advanced our knowledge of one of the most tantalizing mysteries in astronomy.”
Title: Re: Odasvud pomalo...
Post by: Lidija on September 25, 2018, 12:45:32 PM


Post by: Ghoul on November 10, 2018, 12:29:39 PM
dr Ghoul preporučuje spektakularnu knjigu za ljubitelje domaćih starih zidina i ruševina:

Title: Re: Odasvud pomalo...
Post by: Lidija on August 17, 2019, 05:50:42 AM
Izgleda da ćemo uskoro gledati Ekranizaciju Oktavije Batler; otkupljena su prava za njen roman Wild Seed. Ko drgi nego - Amazon Prime. Nnedi Okorafor je u sve to upletena kao scenarista, što je još jedna dobra vest, tako da ceo projekt vredi pažnje.

Otkupljena su prava i za Wanderrers, Chuck Wendig; The Warehouse, Rob Hart, i Ken Liu, njegova kratka priča The message.
Title: Re: Odasvud pomalo...
Post by: Lidija on August 17, 2019, 06:19:31 AM
Sad kad smo zauvek izgubili Vulfa, i nećemo saznati više o intrigantnom svetu u kog je smestio svoj poslednji roman A Borrowed Man (iako je svojevremeno najavio nastavak, pod nazivom Interlibrary Loan), počele su antologijske sumarizacije njegovih dela, pogotovo reprinti Knjige Novog Sunca. Što je svakako fina vest za ljubitelje luksuznih papirnih izdanja.
Title: Re: Odasvud pomalo...
Post by: Miodrag Milovanovic on August 27, 2019, 11:11:56 AM
Title: Re: Odasvud pomalo...
Post by: Miodrag Milovanovic on March 18, 2020, 10:18:28 PM
Potpuno oduševljen časopisom i ilustracijama...

Radosave, što nisi učio njemački!!!

Title: Re: Odasvud pomalo...
Post by: zakk on April 01, 2020, 01:53:42 PM
Čini mi se da smo ga i na Sagiti pominjali
Title: Re: Odasvud pomalo...
Post by: Miodrag Milovanovic on April 02, 2020, 05:06:09 PM
Ne sećam se. Dospeo sam u godine kada je svaki film koji gledam nov!