Podcasts about stanislaw lem

15 minutos a cada 15 dias.No episódio de hoje, Edmara Galvão fala sobre o falecimento de dois autores: Marjane Satrapi e Raimundo Carrero. Também comenta sobre o prêmio Machado de Assis e os laureados pelas novas categorias da premiação da ABL.Por fim, compartilha um mapeamentos sobre o mercado editorial brasileiro e uma dica de leitura de uma entrevista interessante com a Adélia Prado.O episódio também traz uma Resenha Relâmpago da ouvinte Bianca Rojo de "Dias de se fazer silêncio", de Camila Maccari.---Links citadosMarjane Satrapi, a voz iraniana no exílio que transformou 'Persépolis' em literatura universal'Aos 10 anos, me preparava para ser prisioneira política': Marjane Satrapi, a autora que retratou transformação do Irã sob a Revolução IslâmicaPerna Cabeluda driblou a ditadura e colocou violência contra a mulher nas páginas do DiarioMapeamento expõe como o mercado editorial brasileiro se concentra no SudesteAdélia Prado: “Penso todo dia em sexo, morte e Deus”---RecebidosTerra à deriva, de Cixin Liu (tradução de Leonardo Alves) Os que amam, odeiam, de Silvina Ocampo e Adolfo Bioy Casares (tradução de Júlio Pimentel Pinto)Se não podemos viajar à velocidade da luz, de Kim Choyeop (tradução de Juliane Ferreira da Silva Santos)Solaris, de Stanislaw Lem (tradução de Eneida Favre)Nós, de Ievguêni Zamiátin (tradução de Gabriela Soares)mãezinha, de Izabella CristoGaiolas de Concreto Armado, de Paula NovaisNoitada, de Reinaldo MoraesEstudo de Caso, de Graeme Macrae Burnet (tradução de Bruno Cobalchini Mattos)---Links⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apoie o 30:MIN⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Confira nossa vitrine na Amazon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Siga a gente nas redes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Já apoia? Acesse suas recompensas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Confira todos os títulos do clube!

This video focuses on chapter 6 of Stanislaw Lem's Summa Technologiae, specifically the section “Personality and Information”, which discusses thought experiments that bear on turning a person into information and reconstituting that person somewhere else or at a different point in time. Specifically it examines on a somewhat different kind of thought-experiment, involving freezing a person, taking all of their atoms out of them while keeping records of their configurations, and then reconstituting and thawing them. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 4500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Stanislaw Lem's Summa Technologiae - https://amzn.to/4v0FxNz

This video focuses on chapter 6 of Stanislaw Lem's Summa Technologiae, specifically the section “Personality and Information”, which discusses thought experiments that bear on turning a person into information and reconstituting that person somewhere else or at a different point in time. Specifically it examines one feature of these types of situations that is morally problematic, namely that it seems like the process has to in some way or another kill the original person who is telegraphed or transported. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 4500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Stanislaw Lem's Summa Technologiae - https://amzn.to/4v0FxNz

This video focuses on chapter 6 of Stanislaw Lem's Summa Technologiae, specifically the section “Personality and Information”, which discusses thought experiments that bear on turning a person into information and reconstituting that person somewhere else or at a different point in time. Specifically it examines the paradoxes and problems that arise when we start thinking through the implications of telegraphing (or in Star Trek, transporting) people by transmitting atomic-level information about them to a different place and then reconstituting them (or something that is a copy of them) there. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 4500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Stanislaw Lem's Summa Technologiae - https://amzn.to/4v0FxNz

The time has come again for us to talk about a weird, slow science fiction movie, so I reached out to my favorite guest for such films, Ben DeBono from The Sci-Fi Christian. Thanks to Joe Smith for suggesting it, and to the Oregon  Museum of Science & Industry for screening it during this year's … Continue reading Solaris, by Stanislaw Lem (feat. Ben DeBono) →

The time has come again for us to talk about a weird, slow science fiction movie, so I reached out to my favorite guest for such films, Ben DeBono from The Sci-Fi Christian. Thanks to Joe Smith for suggesting it, and to the Oregon  Museum of Science & Industry for screening it during this year's … Continue reading Solaris, by Stanislaw Lem (feat. Ben DeBono) →

This time Kevin has Josh from the Trophy Talk Podcast and Jordan from The Sage Temple on to talk about The Invincible, a game based on the book of the same name by Stanislaw Lem. They start by talking about their first impressions of the game and how it wasn't what any of them were expecting. They have a general discussion and review of the game, and then provide a few recommendations similar to it. After that they go through an in-depth breakdown of the entire story of the game and all the surprising reveals it has in store. They also have a deep discussion of which of the eleven different endings could be the one true ending, and what the implications of it mean. Thanks for listening and we hope you enjoy this analysis of The Invincible.

This time Kevin has Josh from the Trophy Talk Podcast and Jordan from The Sage Temple on to talk about The Invincible, a game based on the book of the same name by Stanislaw Lem. They start by talking about their first impressions of the game and how it wasn't what any of them were expecting. They have a general discussion and review of the game, and then provide a few recommendations similar to it. After that they go through an in-depth breakdown of the entire story of the game and all the surprising reveals it has in store. They also have a deep discussion of which of the eleven different endings could be the one true ending, and what the implications of it mean. Thanks for listening and we hope you enjoy this analysis of The Invincible.

¡Bienvenidos, claquers, a nuestro episodio número 18! Hoy comentamos una de las obras más representativas del cine soviético, y capital para entender a un director único como es Andréi Tarkovski. De 1972, adapta la novela homónima del escritor polaco Stanislaw Lem. La película nos conduce desde la complicada situación psicológica de Kelvin hasta un extraño incidente en la estación espacial de Solaris. Kelvin tendrá la oportunidad de regresar a la estación y enfrentar la oscuridad y la pena dentro de sí mismo. En este episodio contamos con un invitado de gran calado, todo un experto en este director... ¡Disfrutad del episodio! ¡Venga, hablemos de cine! CLA CLA CLA CLA

“Fiction has this unprecedented power in tech spaces. The more I started talking to engineers about their technical problems, the more I realized there’s so much more that humanities could offer.” –Nina Begus About Nina Begus Nina Begus is a researcher at the University of California, Berkeley, leading a research group on artificial humanities, and the founder of InterpretAI. She is author of Artificial Humanities: A Fictional Perspective on Language in AI, which received an Artificiality Institute Award, and First Encounters with AI. Webiste: ninabegus.com LinkedIn Profile: Nina Begus  Book: Artificial Humanities What you will learn How ancient myths and archetypes influence our understanding and design of AI Why the humanities—literature, philosophy, and the arts—are crucial for developing more thoughtful and innovative AI systems The dangers of limiting AI concepts to human-centered metaphors and the need for new, more expansive imaginaries How metaphors shape our interactions with AI products and the user experiences companies choose to enable The challenges and possibilities of imagining forms of machine intelligence and language beyond human templates Why collaboration between technical experts and humanists opens new frontiers for creativity and responsible technology What makes writing and artistic creation uniquely human, and how AI amplifies—not replaces—these impulses Practical ways artists, engineers, and thinkers can work together to explore new relationships and futures with AI Episode Resources Transcript Ross Dawson: Nina, it is wonderful to have you on the show. Nina Begus: Thank you for having me. Ross Dawson: You’ve written this very interesting book, Artificial Humanities, and I think there’s a lot to dig into. But what does that mean? What do you mean by artificial humanities? Nina Begus: Well, this was really a new framework that I’ve developed while I was working on the relationship between AI and fiction, and I started working on this about 15 years ago when I realized that fiction has this unprecedented power in tech spaces. So this is how it all started, but then the more I started talking to engineers about their technical problems, the more I realized there’s so much more that humanities could offer in this collaborative, generative approach that I’ve developed. I would say that now, as the field stands, it’s really a way to explore and demonstrate how humanities—as broad as science and technology studies, literary studies, film, philosophy, rhetoric, history of technology—how all of these fields can help us address the most pressing issues in AI development and use. And it’s been important to me that this approach uses traditional humanistic methods, theory, conceptual work, history, ethical approaches, but also that it’s collaborative and exploratory and experimental in this way that you can look back into the past and at the present to make a more informed choice about the future. You can speculate about different possibilities with it. Ross Dawson: Well, art is an expression of the human psyche, or even more, it is the fullest expression of humanity, and that’s what art tries to do. Also, I’m a deep believer in archetypes, human archetypes, and things which are intrinsic to who we are, and that’s something which you can only really uncover through the arts. Now we have arguably seen all these archetypes play out in real time, these modern myths being created right now in the stories being told of how AI is being created. So I think it’s extraordinarily relevant to look back at how we have depicted machines through our history and our relationship to them. Nina Begus: Yes, this is the reason why I started exploring this topic, actually, because there were so many ancient myths, these archetypal narratives that I’ve seen at the same time, both in technological products that were coming to the market and in the way technologists were thinking about it, and also in fictional products and films and novels in the way we imagined AI. I framed my book around the Pygmalion myth, but there are many, many other myths—Prometheus, Narcissus, the Big Brother narrative, and so on—that are very much doing work in the AI space. The reason why I chose the Pygmalion myth is because it’s so bizarre in many ways: you have this myth where a man creates an artificial woman, and then in the process of creation, falls in love with her. So there’s the creation of the human-like, and there’s also this relationality with the human-like. You would think this would not be a common myth, but quite the opposite—I found it everywhere I looked. It wasn’t called the Pygmalion myth, but the motif was there. I found it on the Silk Road, in ancient folk tales, in Native American folk tales, North Africa, and so on. So I think this kind of story is actually telling us a lot about how humans are not rational, how we have some very deeply embedded behaviors in us, and one of them is that we anthropomorphize everything, including machines.So I think this was a really important takeaway that we got already from the early days of AI with the first chatbot, Eliza. We’ve learned that that will be a feature of us relating to machines. Ross Dawson: So Joseph Campbell called the hero’s journey the monomyth, as in, there is a single myth. And I guess what you are doing here is—well, if you agree with that, which I’d be interested in—is that there are facets. The classic hero’s journey is quite simple, but there are facets of that monomyth, or something intrinsic to who we are, that is around this creation. And in this case, as you say, this relation we have with what we have created. Would you relate that at all to Joseph Campbell’s work? Nina Begus: I haven’t thought about it in this way, because I thought about myth and myths more and less of a storytelling issue, which here is definitely happening—the hero goes on a task, returns back changed, and maybe changes something in the community. The myths that I was looking into and the metaphors that I was exploring, primarily this huge metaphor of AI as a human mind, as an artificial reason—I think it works differently. It’s less of a narrative; it’s more of an imaginary of how or towards what we are building. I think this is a big problem, actually, because the imaginary around AI is very poor. What you get is mostly imagining machine intelligence on human terms, and a lot of people are bothered by that in the AI discourse—right, when you say the machine thinks, or the machine learns, or it has a mind, and some people go as far as to say it has consciousness. I think this kind of debate is actually not that productive. I think it’s more important to see how all these different AI products that we’ve created—and mostly when we talk about AI, people think of language models now—are very much designed as a sort of character, almost as an artificial human that, in literature, authors have been creating for a long time. So I think in that case, we can get back to a hero’s journey. But I think what I was looking at was actually more on the surface level of what kind of shortcuts we are using with these metaphors that we’re employing when building and using AI. I think the book makes a really good case showing that, yes, this is actually a very cultural technology. It’s very much informed by our imaginaries. One surprising part of it was really how hard it was to break out of this human mold. It was pretty much impossible to find examples of machines that are not exclusively human-like. I think Stanislaw Lem is one of the rare writers who can consistently deliver this kind of imaginary. Even looking at more recent works, like popular films such as Hollywood’s Ex Machina or Her, you can see how the technologists themselves would say, “Oh, we were influenced by this film,” in a way that it affirmed their product development trajectory. You can see it now, at this moment, with OpenAI launching companionship. So in many ways, not a lot has changed. Ross Dawson: Yeah, there’s a lot to dig into there. I just want to go back—in a sense, Pygmalion is a metaphor, but it’s also a myth. It is a story: creates a woman, and then falls in love with her, and then whatever happens from there. There is this, something happens, and then something else happens. That’s what a story is. I think that can impact the implicit metaphor, but coming back to the metaphor—so George Lakoff wrote the beautiful book Metaphors We Live By. I think the way the brain works is in metaphors and analogies to a very large degree. Some of those are enabling metaphors, and some of those are not very useful metaphors. I think part of your point is that some of the metaphors that we have for thinking about AI and machines are not useful. There may be, or we could create, some metaphors that are more useful. So, what are some of the most disabling metaphors, and what are some of the ones which could be more constructive? Nina Begus: Yes, So I think this main metaphor that I’ve mentioned—of AI as a human mind—is very limiting. I think it really limits the machinic potential to actually do something good with it. The fact that we’re still using the criteria that were made for humans, like different criteria developed on human language—the Turing test was one of them, right, a while ago. Now we have stricter ones. I think this tells you a lot about how we actually evaluate AI and how even these benchmarks that are supposed to be quantitative are actually often qualitative, often stories, like mini-narratives. But yeah, when we look at different metaphors in this space, there are other ones that also emerge from fiction. I mentioned the Big Brother, the AI as an Oracle, and we need to be aware that these ideas inform the very interaction we have with AI. If we think of it as a mirror, we’re going to use it differently—it’s almost as a bouncing board. If we think of it as a teacher, or as a coach, or as an assistant, it would again create a different use. So I think there are a lot of these metaphors that the companies themselves are trying to decide which one they will go with, because it completely changes the user and the interaction. I think they’re also very cultural, even though you might say, “Oh, it’s a categorical mistake to treat a machine as a human.” I think you can see this kind of treatment across, at least in part, and it doesn’t mean that we consider it human. It just means that we’re engaging with it on our own terms, as if it was human. Now, what could be productive? I do think metaphors, even if they’re not accurate, can be productive. My goal, really, with the book was to break out of this projection of what the machine could be, to find in this exploratory way other directions, other landscapes where we couldn’t go because we’re being limited by our imaginary, by our ideas. So in this way, I think humanistic approaches can be very helpful to designers, to technology builders, to artists, to explore the novelty that so many of these sectors are after. Ross Dawson: Yeah, and I guess people latch on to what they know. I think that’s part of the thing where with AI, “Oh, it’s like a human. Let’s treat it like a human, and let’s make it like a human.” It is, amongst other things, a lack of imagination. That’s where the humanities, the arts, can offer us—those who have the imagination to be able to envisage different possibilities or relationships. But I guess part of it is also that humans relate, and so we have learned to relate to other humans and also to other animals and hopefully to nature as well. But these are all established patterns of relating. So do we need to discover in ourselves new ways of relating to new categories—things which are not humans, not animals, and not nature? Nina Begus: Exactly, this is the exact problem we’re dealing with, and because we’re dealing with a yet unexplored, yet undefined relation, and we’re using old, outdated terms for that relation. This is why we don’t really have a good way of describing it and establishing it. It will take a while for this to develop, which is fine, but we need to realize that there are some concepts that we’re using that we better leave behind and go ahead by building new ones. This is why I think it’s really important to work in a more interdisciplinary collaboration, so that you can see what you can actually build from the technical perspective, so that you can see what these machines are actually capable of. Because you usually don’t know when you create them right?Machine learning is sort of exploratory by design. Ross Dawson: So, just to call it out more explicitly, what are the metaphors you think are the most destructive or most inappropriate, and what are some of the ones which you think are the most promising? Nina Begus: Well, I’m just writing on the Midas myth, which is sort of the opposite of the Pygmalion myth. With Pygmalion, you lean into that human imitation, but with Midas, you lean into the liminality that Midas presents as this sort of hybrid creature. I think leaning into the boundaries that we draw for ourselves—and now AI is not cooperating with them—this is where the productive part will be in actually creating something that has philosophical dignity, but also a kind of productive trajectory for the machines to go. I feel like we’re still in this first phase of developing AI, because when you look at it historically, we haven’t really moved from the conceptual and philosophical premises that were established in the 1940s, 50s, and 60s for this technology. We have now gotten the technology that caught up to the ideas from the 60s, but we’re still stuck in the same conceptual space. Ross Dawson: Yeah, very much so. And, you know, of course, what is AGI, which everyone talks about, is basically—the only way in which people seem to be able to frame it is as relative to humans, which is the only reference point we have. I mean, there’s, of course, animal intelligence, but that’s because of that. It is, again, that lack of imagination—saying, “Well, intelligence, oh, intelligence is what humans do, so let’s do something which is the same as that,” whereas there’s so much white space in what intelligence could be. I think this almost comes back to definition. When people say intelligence, the word, when they use the word intelligence, they are referring to what humans do. It’s not a general term, and so it all becomes a language problem as well, because we are so rooted to relating our language to human capabilities, as opposed to a more general potential. Nina Begus: Yes, I think you’re really on to something here, because I can see it also—because I work with animal communication researchers, and we’re finding things there that we didn’t find because we limited ourselves to thinking language is just a human production, that it needs a human subject. Now, as soon as we got rid of this presumption, we’re finding new things, things that are basically parallel to what we do in our language. So language is in a space of tension because it’s being attacked both from the animal side and from the machinic side, which is why I really focused on language in this book. It’s not a coincidence that we centered artificial intelligence in language as the interface, because this is how we relate to the world—this is our interface to talk to each other, to understand each other. I think the fact that language is coming under such pressure as an interface brings with it a lot of other concepts that are being challenged. Are only humans creative? Is there a natural creativity, machinic creativity? Is there a different kind of intelligence that’s maybe solely biological, embodied? How do we think about cognition? How do we think about culture? In AI and in the natural world, there’s so much that comes with it: agency, autonomy, freedom, community, which I think we will be grappling with for the next few decades, at least. Ross Dawson: I think you alluded before to the potential for AI to have its own languages.  Nina Begus: I’ts happening already. The reason why I like Stanislaw Lem so much is because he can actually think about a machine—back in the 1970s, he’s doing that—about a machine that’s not human-like, that’s not limited to human language. It is trained on human language, but then it goes its own way, where the human linguistic ceiling just cannot go anymore. We’re already seeing that in the models, in Berkeley’s Biological Artificial Intelligence Lab, in the models that are not large language models, but generative adversarial networks that are based on speech. We see that as they are learning the words, they are encoding some information into silences that we don’t know what it is. I think what’s really exciting to me are two things about language in machines. The first one is, what is this non-human production of language? We did not think that non-humans can produce language, even though we had parrots who had to crawl their way to us to speak in “humanese,” to show that they have some kind of intelligence—even if it’s just parroting, even if it’s just what we call imitation, which some people consider not to be intelligence. We’ve had these examples before, but now it’s gotten nuclear—on this scale that LLMs are performing, it’s really challenged a lot of our solely human attributes: creativity, storytelling. A lot of journalists come to me because there’s this existential fear of machines taking over their work and so on. So we’ve been thinking about those things, and now it’s actually happening. Ross Dawson: One of the other key points here, I think, is that humanity is—the arts—there’s so much, as you mentioned, in terms of fiction, in terms of films, in terms of visual arts, and many other artistic domains. We have reference points that we use, and the amount which people refer to the movie Her in the last years is pretty extraordinary, partly because it’s obviously coming very much true. I think the Ex Machina story is very interesting as well, as are many others in the past. But there is also this act of imagination. There are people who have written these books, who have crafted these films, who have created these things, and they are the ones who have been not just manifesting our human psyche, but also pushing that out and coming up with ideas which others haven’t had, to give us something. So one thing we can certainly do is mine and dig into what has been created. But is there a way to interface through this to this act of imagining, which can give us new artifacts and ways of thinking and ways of relating? Nina Begus: Yes, I think imagination and humanities in general are going to become more and more important, because AI will do a lot of technical work, but imaginaries—this is what we really excel at. It’s actually interesting to see how you think fiction is this unbounded landscape where you can imagine anything, and yet it’s really hard to find examples of machines that are beyond the human. Even these writers, like the screenwriters for Her and Ex Machina, create these completely Pygmalion-esque films, where you have an artificial woman leading a relationship with a human man, and so on. For the whole film, you have her act as a human-like entity. But then at the end of each of those films—well, particularly in Her—Spike Jonze really tried to break out of this and show her AI side. Basically, there was no language to describe it, so he resorted to a metaphor—the metaphor of a book, where Samantha, the operations assistant, explains that her world is falling apart, like the way words are floating further and further apart in a book. That’s how she’s able to describe it; that’s the closest she gets. And then in Ex Machina, Alex Garland really wanted to portray the world from the social robot Ava’s perspective in a visual way. He wrote down a scene, but he said, “I failed to execute it visually. I just couldn’t do it well.” So instead, he gave us a different scene that’s shot from afar, where Ava embarks onto a helicopter and she has to undergo her Turing test—the helicopter pilot cannot recognize her as a robot; he needs to think she’s a human woman. There have been attempts, I think even in Garland’s next film Annihilation, they’re trying to set the grounds for something that’s entirely new and hard to imagine. I think a big takeaway for us is this is very hard to do. Ross Dawson: Yes, well, given that context, I do want to—as in the human plus AI framing—given all of this, what is it that we can do or should be doing in order to amplify our humanity, our capabilities, the positive aspects of what it is to be human? How can we relate to or use AI in order to amplify the best of us? Nina Begus: Yeah, I actually had, while I was writing the book Artificial Humanities, this other dream project to work with writers—professional writers, creatives, people who live in a world of words—to see what they make of AI. I waited a little bit for the public’s polarized reactions to calm down a bit and gathered 16 writers, some of whom already made a space for themselves in the field, like Sheila Heti and Ken Liu and Ted Chiang, and then some of the more junior writers who I knew were thinking about that—a Netflix screenwriter, and so on. I gathered them to see—I think the creative people are really the answer here—I gathered them to see how they approach this very human part of the new human and AI collaboration zone. What was common across a lot of essays that are coming out in October under the title “First Encounters with AI” is this argument that, well, AI doesn’t have subjectivity, it doesn’t have emotions, it doesn’t have a body, it doesn’t have experience, it doesn’t have meaning—all of these things that really make us human, all of these parts that actually make art compelling and literature compelling. So Ken Liu’s argument, for example, was, let’s leave machines what they’re good at—they’re good at imitating and copying—and we’re good at interpreting, we’re good at creating and imagining. I think this is really a way to go with this. This catastrophizing that’s very present in the public discourse, I think, is a bit misleading. I wish we had a more nuanced approach to what’s actually happening, particularly in the space of writing. Obviously, AI is a groundbreaking technology that affects pretty much every one of us and all the sectors, but when it comes to writing, we just don’t think it’s killable. We think that there’s this perennial impulse that humans have to play with language, and that is not going to go away with AI. We’re just going to amplify it through AI, through this new possibility that has now opened in many ways. I like to think about AI as—you know, we’ve figured out how to fly. As soon as we figured out the physics of flight, we had planes and helicopters and drones and kites, and these are the new possibilities for human activities. In the same way, we figured out the machine learning principles, and now we have large language models and diffusion models, and we have GANs and so on, and there will be more. These are the new spaces of possibility that have opened for our activities, for our spirit to work on, but they do not replace the human in a meaningful way. It’s more about extension than it is about automation. Ross Dawson: Yeah, that’s a wonderful way of framing it. So where can people go to find out more about your work? Nina Begus: I have a pretty populated website with my name, ninabegus.com, where I write about my books, I write about my public work. I have videos on there, podcasts, links, and so on. I also have a pretty lively lab with a lot of collaborators and students, where a lot of what I imagined when writing Artificial Humanities—where a lot of collaborative projects happen. We have artists, we have engineers, we have philosophers that work on the same question, but come at it from very different backgrounds and with very different skills. I think this is becoming more and more important in the world of AI. Ross Dawson: Yes, yes, bringing all of those disciplines and frames and thinking together. That’s wonderful. I love what you’re doing—very important. I hope the messages ripple through, and obviously wonderful to be able to share this with the Humans Plus AI audience. Thank you so much. Nina Begus: Thank you, Ross, and thank you all for listening. The post Nina Begus on artificial humanities, AI archetypes, limiting and productive metaphors, and human extension (AC Ep38) appeared first on Humans + AI.

Am 27.3.2006 stirbt der Science-Fiction-Autor Stanislaw Lem. Sein Werk ist philosophisch und technisch zugleich – und wirft einen realistischen Blick auf eine mögliche Zukunft. Von Michael Richmann.

Stanisław Lem wollte zu Lebzeiten ungern als Science-Fiction-Autor bezeichnet werden. Denn er war viel mehr als das: Schriftsteller, Philosoph und Essayist. Trotzdem wird er bis heute so bezeichnet: Als Polens wichtigster Science-Fiction-Auto - dabei war es genauer genommen Wissenschaftsfiktion. Als Lems Meisterwerk gilt der Roman "Solaris" von 1961. Er wurde in mehr als 30 Sprachen übersetzt, dreimal verfilmt – zuletzt 2002 von Steven Soderbergh – und außerdem vielfach in Bühnenstücken, Opern und Hörspielen umgesetzt. In Lems dystopischem Roman reist der Psychologe Kris Kelvin auf eine spärlich besetzte Forschungsstation auf dem Planeten Solaris, der fast vollständig von einem mysteriösen Ozean bedeckt ist. Stanisław Lem ist 1921 in Lemberg geboren und heute vor 20 Jahren in Krakau gestorben ist. Arno Orzessek hat "Solaris" wiedergelesen.

Heute vor 20 Jahren starb der polnische Autor und Philosoph Stanislaw Lem.

Un análisis de Solaris, la obra maestra de ciencia ficción de Stanislaw Lem que explora el límite del conocimiento humano frente a una inteligencia verdaderamente alienígena. ¿Qué ocurriría si la humanidad encontrara una inteligencia extraterrestre… imposible de comprender? En Solaris, Stanislaw Lem plantea uno de los grandes dilemas de la ciencia ficción: el contacto con lo radicalmente desconocido. En lugar de naves en guerra o civilizaciones alienígenas humanoides, Lem nos presenta un planeta cubierto por un océano vivo que parece responder a la mente humana. Cuando el psicólogo Kris Kelvin llega a la estación científica que orbita Solaris, descubre que la misión está al borde del colapso. Los científicos han dejado de estudiar el planeta… y ahora parecen estar siendo estudiados por él. ☄️ Y si este programa te ha gustado: comenta, dale a me gusta, compártelo. Ayúdanos a llegar a más gente ☄️ APÓYANOS EN: ☄ Patreon: https://www.patreon.com/vuelodelcometa ☄ iVoox: https://www.ivoox.com/support/1049191 ☄ YouTube: https://www.youtube.com/@vuelodelcometa TELEGRAM: ☄ Telegram (canal de difusión): https://t.me/canalvuelodelcometa ☄ Telegram (chat grupal): https://t.me/vuelodelcometacomunidad REDES SOCIALES: ☄ Instagram: https://www.instagram.com/vuelodelcometa ☄ Twitter: https://twitter.com/Vuelodelcometa ☄ Bluesky: https://bsky.app/profile/vuelodelcometa.bsky.social ☄ Threads: https://www.threads.com/@vuelodelcometa ☄ Facebook: https://www.facebook.com/Vuelodelcometa WEB: ☄ Web: alvaroaparicio.net Y si quieres contactar con nosotros para una promoción, no dudes en ponerte en contacto a través de: vuelodelcometapodcast@gmail.com Si quieres apoyar este y otros proyectos relacionados, puedes acudir a https://www.patreon.com/vuelodelcometa o a través del sistema de mecenazgo en iVoox. Y si quieres contactar con nosotros para una promoción, no dudes en ponerte en contacto a través de: vuelodelcometapodcast@gmail.com Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Publicada originalmente en 1961, Solaris se aleja de las historias de exploración espacial convencionales para ofrecer una reflexión radical sobre la ciencia y la incapacidad humana para comprender lo verdaderamente ajeno. La trama sigue al psicólogo Chris Kelvin en su llegada a una estación espacial donde la tripulación sufre trastornos mentales debido a la influencia de un océano inteligente que cubre el planeta. Esta entidad, que no posee células ni órganos, actúa materializando los recuerdos y problemas del pasado de los investigadores, lo que sirve como una metáfora sobre los límites de nuestra percepción y el antropocentrismo del conocimiento. La obra ,que cuenta con una aclamada adaptación cinematográfica de Andrei Tarkovsky, plantea que el universo puede contener fenómenos que, simplemente, no son comprensibles para la mente humana.

Crionia es el planeta más frío, frío, frío del universo pero también es un mundo fantástico con ciudades resplandecientes repletas de maravillosos tesoros. Este relato del escritor de ciencia-ficción Stanislaw Lem narra el intento de tres caballeros (Cupricio, Ferricio y Cuarciano) de conquistar el planeta de los Criónidas, seres hechos de hielo que viven en el frío absoluto. Tres intrépidos electroguerreros se atreverán a atravesar el cosmos para conquistar estas riquezas desafiando las bajas temperaturas y a los criónidas, los helados habitantes del planeta. ¿Lograrán los audaces electroguerreros su objetivo? Música y Ambientación: Science Fiction Music Solaris - Pixel Vybes Blog del Podcast: https://lanebulosaeclectica.blogspot.com/ Twitter: @jomategu

Philip welcome Nina Begus, author of Artificial Humanities: A Fictional Perspectives on Language in AI to the show. In their conversation, The Drop – The segment of the show where Philip and his guest share tasty morsels of intellectual goodness and creative musings. Philip's Drop: Andor (Disney+) Poor Things (Disney+) Nina's Drop: The Mask by Stanislaw Lem

As always there are spoilers ahead! We've discussed Czech scifi before with Karel Zeman's gorgeous steam punk offering from 1958 Invention for Destruction (dubbed into the English language The Fabulous World of Jules Verne) and we've also covered Communists in Space with 1960s The Silent Star (AKA First Spaceship on Venus). The Czech Ikarie XB-1 (1963) has connections to both of those films but also offers an aesthetic that seems to directly inspire Kubrick for 2001: A Space Odyssey. The year is 2163, communism has won, and a crew of 40 are sent to find life on the white planet in Alpha Centauri with a journey fraught with sociological, psychological and physical challenges. I have two amazing academics to help give insight into the film. Evan Torner is an Associate Professor of German Studies and Niehoff Professor of Film & Media Studies at the University of Cincinnati. Simon Spiegel is a lecturer of Film Studies at the University of Zurich. He has written extensively about Science Fiction and Utopia and has just released the book The Fear of Knowing about spoilers in film and media. Chapters: 00:00 Introduction 01:11 Stanislaw Lem's The Magellanic Cloud 04:28 Czechoslovakian New Wave and film industry 09:49 The striking introductory scenes and Kubrick's 2001 13:05 Cabin fever in spaaace! 15:13 Music by Zdeněk Liška 16:57 Communist utopia in spaaace! 20:57 The draw of sociological stories 26:19 A utopian party and a red alert 28:15 The capitalist ship and the 20th century 32:47 Putting science into sci-fi 39:30 Evan's Dark Matter Shenanigans 42:21 Post Stalin faith 43:41 The ending 45:39 The US edit 47:27 Legacy 52:18 Recommendations     NEXT EPISODE! I will be taking a detour next episode to talk about Afrofuturism which I've been wanting to discuss since the very early days of research before I launched the podcast. Almost two years late but I hope you enjoy it. After that we will be discussing Dr Strangelove and I would recommend you also watch Fail Safe (also 1964) if you have time.  

Mumot, André www.deutschlandfunkkultur.de, Fazit

Der terranische Kongress tagt wieder. In der Stammbesatzung sprechen Dominik, Markus und Chris wieder über die aktuellsten Ausgaben der unterschiedlichen Perry Rhodan Romanserien. Oben drauf gibt es frische News und Con-Berichte. Dominik berichtet vom BuCon in Dreieich und Markus erzählt vom BrühlCon. In unserer Kolumne Currently Reading berichtet Chris vom Perry Rhodan Zyklus Das Konzil (Bd. 650 bis 699) und der Aphilie (Bd. 700 bis 799). Dominik hat wieder in den Planetenromanen gelesen und hat sich rund um das Jahr 1 NGZ umgeschaut. Dort las er die Guy Nelson Romane: - Taschenbuch Nr. 255 - Die Howalgonium-Krise - H.G. Ewers - Taschenbuch Nr. 260 - Siedler für Golcrona - H.G. Ewers - Taschenbuch Nr. 263 - Das galaktische Syndikat - H.G. Ewers - Taschenbuch Nr. 267 - Ein Nelson kommt selten allein - H.G. Ewers - Taschenbuch Nr. 275 - König der Hathor - H.G. Ewers Gemeinsam unterhalten sich Dominik und Chris auch über den 171. Silberband „Zielstern Anklam“, der schon vor ein paar Wochen erschienen ist, aber in den vergangenen Folgen keinen Platz gefunden hat. Dieses Mal ist es soweit, wir blicken auf den Vorstoß der Galaktiker nach Tarkan und über Perry's Konfrontation mit Afu Metem, dem Herrn des Feuers. Die Preisträger des BuCon könnt ihr unter diesem Link noch einmal nachlesen. Klaus N. Frick erhielt für seine Leistungen rund um die deutsche Science-Fiction den Ehrenpreis für sein Lebenswerk. Das gesamte Weltendieb-Team gratuliert herzlich. Wer sich regelmäßig auf der Perry Rhodan-Homepage herumtreibt, hat es bestimmt schon entdeckt: Es gibt ein kleines Gewinnspiel rund um das neugestaltete Wallpaper. Wir feiern die neuen Grafiken und freuen uns auf die Abenteuer im kommenden Pegasos-Zyklus. Lasst euch das nicht entgehen! Eine kleine Anmerkung von Chris: Ich habe mir viel Mühe gegeben, war aber leider nicht in der Lage, das Video zum Marcel Reich-Ranicki Interview wiederzufinden. Im Podcast habe ich diesen Kommentar angesprochen, als Dominik von der Frankfurter Buchmesse berichtet hat. Ich habe bei der Suche gelernt, dass Marcel Reich-Ranicki einen riesigen Bestand an Interviews, Kommentaren und Statements hinterlassen hat. Ein beeindruckendes Leben, das mit dem Thema Literatur in der deutschen Gesellschaft eng verbunden ist. Ich habe mich immer mal wieder verleiten lassen, in ein Interview hineinzuschauen. Tut euch einen Gefallen und nehmt euch die Zeit, euch mit diesem Zeitzeugen des 20. Jahrhunderts auseinanderzusetzen. Ich habe das Gefühl, dass Reich-Ranicki ein Weltendieb ist. Chris und Dominik denken aktuell intensiv über die Weltendieb-Podcast Projekte nach. Chris möchte sich im kommenden Jahr mit den klassischen Science-Fiction Autoren Isaac Asimov, Stanislaw Lem und Jules Verne auseinandersetzen. Themen für kommende Podcasts sind die Romane aus dem Foundation-Zyklus. Wir halten euch zu dieser Plan 26 auf dem Laufenden. Die Hefte dieser Episode: - Perry Rhodan Silberband Nr. 171 - Zielstern Anklam - Perry Rhodan Neo Nr. 366 - Der umbrische Gong - Jacqueline Mayerhofer - Perry Rhodan Neo Nr. 367 - Die Spezialisten der Nacht - Lucy Guth - Perry Rhodan Neo Nr. 368 - Universum ohne Ausweg - Dietmar Schmidt - Perry Rhodan EA Nr. 3345 - Der 50 Jahres-Plan - Andreas Eschbach - Perry Rhodan EA Nr. 3346 - In den Katakomben von Rugyra - Wim Vandemaan - Perry Rhodan EA Nr. 3347 - Entscheidung am Zykluswall - Michelle Stern - Perry Rhodan EA Nr. 3348 - Brennpunkt Neu-Atlantis - Leo Lukas - Perry Rhodan EA Nr. 3349 - Kampf um Luna - Leo Lukas Wenn ihr mehr über den Weltendieb oder Stardust ruft Terra erfahren wollt, besucht den Blog. Den Link findet ihr in den Shownotes. Wenn ihr Feedback oder eure Meinung mitteilen wollt, schreibt einen Kommentar im Blogpost oder schreibt eine Mail an info@weltendieb.com. Ihr findet mich natürlich auch auf allen gängigen sozialen Netzwerken.

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/systems-and-cybernetics

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

"Los Consejeros del Rey Hidropsio" es uno de los cuentos que componen la célebre colección "Fábulas de robots" (Bajki robotów, 1964) de Stanisław Lem. Esta serie de relatos se enmarca en un universo de ciencia ficción satírica y cuasi-medieval, donde los protagonistas son robots, autómatas y máquinas que han heredado y distorsionado las peores cualidades de la humanidad. El relato se centra en el rey Hidropsio del reino de Acuacia, un monarca caprichoso y, como sugiere su nombre, obsesionado con el agua (aunque en el contexto de robots esto puede interpretarse como su "fluido vital" o programa). Deseando un heredero al trono que sea digno de su legado y satisfaga sus peculiares gustos, encarga a sus consejeros más sabios la tarea de crearlo. Música y Ambientación: Atlantis - The Lost Empire Subnautica - Simon Chylinski Blog del Podcast: https://lanebulosaeclectica.blogspot.com/ Twitter: @jomategu

Wer will ich sein? Es gibt Momente im Leben, da zieht man Bilanz. Passt alles? Bin ich auf dem richtigen Kurs? Oder will ich eigentlich ganz anders leben. Um die Frage zu beantworten, wie man gerne sein möchte, muss man aber erstmal wissen, wer man überhaupt ist. Leon und Atze liefern in dieser Folge mal einen ganz anderen Blick auf unser Selbst. Fühlt euch gut betreut Leon & Atze Instagram: https://www.instagram.com/leonwindscheid/ https://www.instagram.com/atzeschroeder_offiziell/ Mehr zu unseren Werbepartnern findet ihr hier: https://linktr.ee/betreutesfuehlen Tickets: Atze: https://www.atzeschroeder.de/#termine Leon: https://leonwindscheid.de/tour/ VVK Münster 2025: https://betreutes-fuehlen.ticket.io/ Quellen Die Argumentation und (die meisten) Beispiele stammen aus dem Buch “Being You – A New Science of Consciousness” von Anil Seth. Das Teletransport Paradox: This thought experiment has been independently attributed to the philosopher Derek Parfit and the author Stanislaw Lem. Das Video von Clive Wearing: https://www.youtube.com/watch?v=Vwigmktix2Y Die Out Of Body Experiences mit Virtual Reality: Ehrsson, H. H. (2007). The experimental induction of out-of-body experiences. Science, 317(5841), 1048-1048. Lenggenhager, B., Tadi, T., Metzinger, T., & Blanke, O. (2007). Video ergo sum: manipulating bodily self-consciousness. Science, 317(5841), 1096-1099. Redaktion Dr. Leon Windscheid Produktion: Murmel Productions

As always there are spoilers ahead! In 1951 Poland, during its Stalinist era, acclaimed science fiction writer Stanislaw Lem released his first book: The Astronauts. (He had already written the novel The Man from Mars which was serialised).   In 1960 The Astronuats would go on to become the basis of East Germany's ambitious communist sci-fi film Der schweigende Stern or The Silent Star. The script would go through 12 drafts before filming by which time Lem had removed his name from the project.  Although the script lacks focus it is full of historical and cultural significance and is a strong an indictment of why ideological control should not be asserted on the arts. The film is idealistic, looks great with some beautiful design and does not feature Christopher Nolan (link to Instagram post).  I have two top notch academics to discuss the film.  Sonja Fritzsche is a professor of German Studies and Senior Associate Dean at Michigan State University. She has also written/edited many books about science fiction.  Evan Torner is an Associate Professor of German Studies and Niehoff Professor of Film & Media Studies at the University of Cincinnati.   Chapters 00:00 Intro 01:53 Post Metropolis German Sci-Fi 09:50 East German filmmaking in 1960: DEFA, Kurt Maetzig & Utopian futures 16:34 The Bitterfelder Weg programme: the working class in the arts 18:50 The Polish influence: Stanislaw Lem, ideological space & the Polish October 24:31 12 drafts of the scripts: Too many cooks 29:24 Influences: Forbidden Planet, Woman in the Moon and If All the Guys in the World 32:03 The communist ideal in spaaaace! 38:32 Visual delights: Box office draw and Nazi Agfacolor 45:11 The stolen US edit: First Spaceship on Venus 47:15 Legacy, language and recommendations     NEXT EPISODE! Back to Blighty for some good old fashioned evil children in Village of the Damned (1960). The film is easy to rent or buy on an array of streaming platforms including YouTube: https://www.youtube.com/watch?v=cujvDkHxFcg You can check the Just Watch website for details of where to find it in your region.

Steven Soderbergh's second release of 2002, after FULL FRONTAL, was another very odd move: a remake of Andrei Tarkovsky's SOLARIS (well, more of a new adaptation of the Stanislaw Lem novel). Underappreciated at the time, Soderbergh's SOLARIS has grown in reputation as one of the great science fiction films of the 2000s - so we brought on a bonafide science fiction expert, Aaron Thorpe, to talk about it! Join us for a thoughtful and wide-ranging conversation about the purpose of science fiction, comprehending the vastness of space, grief, blackness in sci-fi, and OSMOSIS JONES. Don't worry, it's plenty stupid, too. Further Reading: Solaris by Stanislaw Lem Sculpting in Time by Andrei Tarkovsky Tool-Being: Heidegger and the Metaphysics of Objects by Graham Harman Myths of the Near Future by J.G. Ballard Further Viewing: SOLARIS (Tarkovsky, 1972) CONTACT (Zemeckis, 1997) EVENT HORIZON (Anderson, 1997) OSMOSIS JONES (Farrelly, 2001)  STAR TREK: NEMESIS (Baird, 2002) Follow Aaron Thorpe: https://x.com/afrocosmist https://x.com/thetrillbillies https://substack.com/@spacelight Follow Pod Casty For Me: https://www.podcastyforme.com https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

This week the boys spin a wheel of books contributed by our Patreon and land on The Futurlogical Congress. How will we solve our overpopulation problem? Just never stop building. And drugs. Lots and lots of drugs.Support the showBlue Sky - https://bsky.app/profile/wordsaboutbooks.bsky.socialDiscord - https://discord.gg/6BaNRtcP8CThreads - https://www.threads.net/@wordsaboutbookspodcastInstagram - https://www.instagram.com/wordsaboutbookspodcastBlog - https://blog.wordsaboutbooks.ninja/

La Biblioteca de Antonio Martínez Asensio en Hoy por Hoy dedica este capítulo a la literatura de ciencia ficción y su libro de la semana es un clásico de la modernidad, 'Solaris' de Stanislaw Lem del que nos va a hablar su editor en Impedimenta David Domínguez. Él va a ser nuestro particular Kris Kelvin para contactar con el planeta de los dos soles. Pero además de donarnos el clásico de Lem, David nos trae otros dos libros grandes del género: 'La isla de cemento" de J. G Ballard.( Minotauro) y 'Planetary' de Warren Ellis y John Cassaday. (ECC ediciones).  Antonio Martínez Asensio también nos ha traído, además de 'Solaris' otros tres clásicos de la ciencia ficción:  'El planeta de los simios' de Pierre Boulle (B de Bolsillo), `Frankenstein o el moderno Prometeo" Mary Shelley (Penguin Clásicos) y  'Sueñan los androides con ovejas eléctricas' de Philip Dick (Minotauro) . Y todo este material sumamos y reportaje de Severino Donate en la Biblioteca Rector Gabriel Ferrater de la Universidad Politécnica de Catalunya que tiene una de las mayores colecciones de novela de ciencia ficción de España. Y más allá del género tuvimos novedades con Pepe Rubio que trajo 'Dick o la tristeza del sexo' de Kiko Amat (Anagrama) y 'Una obra maestra' de Lorenzo Caudevilla (Dolmen Editorial). El libro perdido que encontró Pascual Donate fue 'Peregrinos:viajes llenos de significado' de Peter Stanford (Crítica). Antonio Martínez Asensio, pluriempleado, nos dejó su entrega de "Un libro, una hora" que esta semana estará dedicada a 'Las ratas' de Miguel Delibes (Destino) . Por último las donaciones de los oyentes que fueron: 'Pintor de luz' de Luis de Valdés (Aliar Ediciones) , 'Lágrimas en la lluvia' de Rosa Montero (Seix Barral)  'El eternauta' de H.G. Oesterheld y Solano López (Planeta Comic)  y 'Promethea" (serie gráfica) de Alan Moore y J. H. Williams III (ECC Ediciones) . 

Hoi zäme und willkomme zum Podcast vo Swiss German Online vom 10. Dezämber 2024! ​Ich bi d Kathrin Erni und hüt rede-mer über es ganz schpeziells Thema: Chnöiprothese. Genau, es goht um de Ersatz vo einzelne Körperteil – und d Frog, was das mit üs und üsem Läbe macht. Denn, wänn s um Prothese oder Organtransplantation goht, het das nid nume mit Medizin z tue, sondern au mit ethische Froge. Mir bringed das natürlich alles uf e lockeri Art und mit emene Augezwinkere i dem mir über d Frogeschtellige reded, wo scho de Stanislaw Lem i einere vo sine Science-Fiction Churzgschichte im “Buech vo de Roboter” thematisiert.   Als erschts möcht-i öich d Gschicht vo miim Mami verzelle, wo sälber sit 4 Johr es künschtlichs Chnöiglänk het: Mini Mueter het mit em Alter einigi Glänkbeschwärde gha, am schlimmschte isch es aber mit de Chnöi gsi. Si het verschideni Therapie wie Physiotherapii oder Oschteopatii probiert und au immer wider Schmärztherapie gha. Si het nid z früeh wölle es künschtlichs Chnöi übercho, wil jo das denn bis am Schluss vo irem Läbe sött hebe. Aber d Verschleiss-Schpure sind scho erheblich gsi und vor vier Johre het si sich entschide, ändlich under s Mässer z goh und de Schritt z woge, wil ires alte Chnöi würklich nümm het funktioniert, und s'Laufe zur Tortur worde isch. Aber si het e super Arzt gha – e richtigi Koriphäe uf siim Gebiet mit mega vil Erfahrig – und d Operation isch e volle Erfolg gsi. Hüt seit si mängisch: "Mis Chnüü isch wider wie nöi!" Si merkt fasch kei Unterschied zwüschem künschtliche und em eigete Chnöi. S einzige, wo si hi-und-da schtört, isch, dass es ab und zue quietscht, aber do cha-mer nid vil degäge mache. S Wichtigste isch: Si het praktisch kei Schmärze meh und isch immer no ganz dynamisch und voller Tatedrang. Was aber, wenn mer sine Körper eifach wott "öpgreide", also besseri Fähigkeite möcht erlange mit Hilf vo de hütige Technik? ...   Contact me to see the whole script https://www.swiss-german-online.com/contact-us.html   VIP Swiss German course https://www.swiss-german-online.com/app.html   Standard German course https://app.german.dog/subscriptions  

Reserva tu espacio en el curso Ciencia Ficción: Isaac Asimov, Stanislaw Lem, Arthur C. Clark y Philip K. Dick: https://surveyheart.com/form/670899a781d71a6902078e90 Enlace evento de Facebook: https://www.facebook.com/share/VHDcH2JzKYERwo4M/ Los esperamos.

Dos pilares literarios, dos obras totémicas, dos voces que cambiaron la ciencia ficción para siempre. Nos zambullimos en Solaris del gran Stanislaw Lem y en ¿Sueñan los androides con ovejas eléctricas? del deslumbrante Philip K. Dick.

Avui visitem la Fira Internacional del Llibre L

Avui visitem la Fira Internacional del Llibre L

Un programa radial sobre libros desde lectores apasionados, pero no expertos, que discuten sobre literatura como sobre la vida misma. Cada sábado a las 21.00 hrs. Antonella Estévez, Patricio López, Alberto Mayol y Omar Sarrás se reúnen en el 102.5 para compartir esta pasión desde la mirada subjetiva y personal de cualquiera que ame los libros. Comentamos y compartamos los libros, y la vida, en nuestro grupo http://facebook.com/groups/128895883789184

Cosmic intellectual pessimism-core. • Explore our Patreon at ⁠⁠⁠patreon.com/wheelofgenre⁠⁠⁠ • Email us at genrepodcast@gmail.com

Andrei Tarkovsky is a legendary filmmaker whose seven feature films changed the medium, but how does his vision stack up to the brilliant novel by Stanislaw Lem that he's adapting? In episode 316, join Luke Elliott & James Bailey as they explore classical symbolism, experience time through cinema, debate whether great adaptations must be faithful, explore the loss of home, fall in love with a memory, debate what constitutes reality, and finally cast their votes on which one is ultimately the better version: the book or the movie! Full Video version available on YouTube https://bit.ly/3Xdjc1n Support the show on Patreon for bonus content, merch, and the ability to vote on upcoming projects! https://www.patreon.com/inktofilm Get Solaris or any of the source novels at the Ink to Film Bookshop: https://bookshop.org/shop/inktofilm Ink to Film's Twitter, Facebook, Instagram, Bluesky (@inktofilm) Home Base: inktofilm.com  Luke Elliott  Website: www.lukeelliottauthor.com Twitter: https://twitter.com/luminousluke IG: https://www.instagram.com/lpelliott/ Threads: https://www.threads.net/@lpelliott Bluesky: https://bsky.app/profile/luminousluke.bsky.social James Bailey Twitter: https://twitter.com/Jame_Bail IG: https://www.instagram.com/jamebail/ Credits Song: Last Dawn by Ross Bugden: https://youtu.be/wWjgsepyE8I?si=G9HL2QdcBKG76Q7j

Stanislaw Lem was one of the world's most widely read science fiction writers, so why don't people talk about him more? In episode 315, Join Luke Elliott and James Bailey as they take their first visit the truly alien world of the novel, see the differences in translations first hand, learn about Lem's attitude towards American SciFi of the time, consider humanities reason for space exploration, and consider whether it is even possible to find the true meaning of this book, or any work of art for that matter. Join them next when they will watch & review Andrei Tarkovsky's adaptation of “Solaris” and vote on which is ultimately better: the book or the movie!   Full Video version available on YouTube https://bit.ly/3Xdjc1n Support the show on Patreon for bonus content, merch, and the ability to vote on upcoming projects! https://www.patreon.com/inktofilm Get Solaris or any of the source novels at the Ink to Film Bookshop: https://bookshop.org/shop/inktofilm Ink to Film's Twitter, Facebook, Instagram, Bluesky (@inktofilm) Home Base: inktofilm.com   References In 1942 Stanislaw Lem survived a Nazi firing squad. This is the story of what he did next.   Luke Elliott  Website: www.lukeelliottauthor.com Twitter: https://twitter.com/luminousluke IG: https://www.instagram.com/lpelliott/ Threads: https://www.threads.net/@lpelliott Bluesky: https://bsky.app/profile/luminousluke.bsky.social   James Bailey Twitter: https://twitter.com/Jame_Bail IG: https://www.instagram.com/jamebail/   Credits Song: Last Dawn by Ross Bugden: https://youtu.be/wWjgsepyE8I?si=G9HL2QdcBKG76Q7j

Seriah continues with Robert. Topics include programs to find/develop psychic youth, Whitley Strieber's book “The Secret School”, “The Psychic Battlefield: A History of the Military-Occult Complex” by W. Adam Mandelbaum and “The Men Who Stare at Goats” by Jon Ronson, a bizarre psychic encounter with a high-clearance military officer, the militarization of psychic phenomenon, an individual without foresight, social effects of isolation on young adults, speculation on military supplements, the experiences of “Damien” of “Chameleo”, homelessness vs targeting, Seriah's encounter with an electronic cuckoo sound and a visual distortion bubble, the so-called Mandela Effect and its counterpart, strange memories of drones, the films “They Live” and “Earth vs the Flying Saucers”, a strange experience with a tree being shaken by an invisible entity, differences in eye-witness perception of paranormal experiences, Barry Taff, a physical attack during a séance and its perceptions, Terence McKenna's book “True Hallucinations”, paranormal phenomenon being imitated by high technology, the shadow biosphere, intelligent life in forms very different from human, the book “Solaris” by Stanislaw Lem, alien-like beings in surrealist art, Aleister Crowley and John Dee and an alien-like entity, John Keel and the New Journalism movement, Keel's “The Eighth Tower”, johnkeel.com and Keel's personal papers, “The Coming Global Superstorm” book by Art Bell and Whitley Strieber, Wilhelm Reich, Trevor James Constable, cloud buster machines and UFOs, Ken Thomas and Steamshovel Press, orgone energy, comic artist Jack Kirby, William S. Burrough's grave, an incident with an object pursuing a police helicopter, David Letterman's interview of John Keel, “Strange Magazine”, Mark Chorvinsky, a Keel article in an academic journal, various “Devil's Footprints” incidents around the world, Charles Fort, Cormac McCarthy and “Blood Meridian”, Fortean influences on mainstream culture and art, copyright issues and the paranormal, David Paulides and a strangely-developed photograph, J. Allen Hynek's son Joel and Hollywood, infrared light and cameras, advanced electronic military camouflage in Ukraine and Israel, high-tech camo and the Geneva Convention, Richard Schowengerdt's recognition by the U.S. Navy, VICE News hesitancy to cover “Chameleo”, the public resume of the NCIS agent involved with the stolen night vision goggles, Robert's other works of fact and fiction, and much more! This is some fascinating conversation with one of the top WDTRG guests of all time!

Richard Rosen (www.m-yoga.org/richard-rosen  | @richardrosenyoga) Adam interviews Richard Rosen, a yoga teacher and author, about his background in yoga and his book, Yoga FAQ. They discuss the evolution of yoga texts, the influence of yoga on Western psychology, and the potential for yoga to suppress emotions. They also explore the role of asana in yoga, the trend of yoga anatomy in classes, and the need for assessing students and structuring classes effectively.  SUPPORT US

Seriah continues with Robert. Topics include programs to find/develop psychic youth, Whitley Strieber's book “The Secret School”, “The Psychic Battlefield: A History of the Military-Occult Complex” by W. Adam Mandelbaum and “The Men Who Stare at Goats” by Jon Ronson, a bizarre psychic encounter with a high-clearance military officer, the militarization of psychic phenomenon, an individual without foresight, social effects of isolation on young adults, speculation on military supplements, the experiences of “Damien” of “Chameleo”, homelessness vs targeting, Seriah's encounter with an electronic cuckoo sound and a visual distortion bubble, the so-called Mandela Effect and its counterpart, strange memories of drones, the films “They Live” and “Earth vs the Flying Saucers”, a strange experience with a tree being shaken by an invisible entity, differences in eye-witness perception of paranormal experiences, Barry Taff, a physical attack during a séance and its perceptions, Terence McKenna's book “True Hallucinations”, paranormal phenomenon being imitated by high technology, the shadow biosphere, intelligent life in forms very different from human, the book “Solaris” by Stanislaw Lem, alien-like beings in surrealist art, Aleister Crowley and John Dee and an alien-like entity, John Keel and the New Journalism movement, Keel's “The Eighth Tower”, johnkeel.com and Keel's personal papers, “The Coming Global Superstorm” book by Art Bell and Whitley Strieber, Wilhelm Reich, Trevor James Constable, cloud buster machines and UFOs, Ken Thomas and Steamshovel Press, orgone energy, comic artist Jack Kirby, William S. Burrough's grave, an incident with an object pursuing a police helicopter, David Letterman's interview of John Keel, “Strange Magazine”, Mark Chorvinsky, a Keel article in an academic journal, various “Devil's Footprints” incidents around the world, Charles Fort, Cormac McCarthy and “Blood Meridian”, Fortean influences on mainstream culture and art, copyright issues and the paranormal, David Paulides and a strangely-developed photograph, J. Allen Hynek's son Joel and Hollywood, infrared light and cameras, advanced electronic military camouflage in Ukraine and Israel, high-tech camo and the Geneva Convention, Richard Schowengerdt's recognition by the U.S. Navy, VICE News hesitancy to cover “Chameleo”, the public resume of the NCIS agent involved with the stolen night vision goggles, Robert's other works of fact and fiction, and much more! This is some fascinating conversation with one of the top WDTRG guests of all time! - Recap by Vincent Treewell of The Weird Part Podcast Outro Music is Avi C. Engel with Ladybird, What's Wrong? Download

Game trailer: https://www.youtube.com/watch?v=qoykm2x2WDk Gameplay video: https://www.youtube.com/watch?v=AEAXwxnLHJI Another gameplay video: https://www.youtube.com/watch?v=OgLBybdDf88 Reddit about ∆V: Rings of Saturn: https://www.reddit.com/r/deltavringsofsaturn/ Game store page: https://store.steampowered.com/app/846030/V_Rings_of_Saturn/ Mentioned in this episode: Stanisław Lem books on Amazon: https://www.amazon.com/stores/Stanislaw-Lem/author/B000AQ3P7Y Kerbal Space Program: https://www.kerbalspaceprogram.com Vernor Vinge's Zones of Thought series: https://us.macmillan.com/series/zonesofthought

Game trailer: https://www.youtube.com/watch?v=qoykm2x2WDk Gameplay video: https://www.youtube.com/watch?v=AEAXwxnLHJI Another gameplay video: https://www.youtube.com/watch?v=OgLBybdDf88 Reddit about ∆V: Rings of Saturn: https://www.reddit.com/r/deltavringsofsaturn/ Game store page: https://store.steampowered.com/app/846030/V_Rings_of_Saturn/ Mentioned in this episode: Stanisław Lem books on Amazon: https://www.amazon.com/stores/Stanislaw-Lem/author/B000AQ3P7Y Kerbal Space Program: https://www.kerbalspaceprogram.com Vernor Vinge's Zones of Thought series: https://us.macmillan.com/series/zonesofthought

Rachel and Matt discuss the novel "Solaris" by Stanislaw Lem which has been adapted into film twice (episodes incoming!) was it an easier read than Star Maker? Did we think this author was also on some really good hallucinogens? You'll find out! There's more from the Strange and Beautiful Network!Listen to Rachel, Kate, and Hannah discuss spicy books, serious books, and everything in between (but mostly spicy!). It's like sitting down with girl friends to chat about hot book boyfriends but in podcast format! Listen now at Feast, Sheath, Shatter: A Book Chat PodcastLove Movies, TV Shows and Books in the Fantasy, Scifi, and Horror genre and want to hear more? Check us out at The Strange and Beautiful Book Club where Rachel and her husband Matt discuss all things genre-related.Longing for a simpler time in the police procedural genre AND love Vampires? Matt and Rachel also review the classic television show Forever Knight on their podcast, Come in 81 Kilo.Not getting enough sweaty 90s sexcapades from your television and movie content? Listen to Meg and Rachel discuss the finer points of Geraint Wyn Davies' career over at Ger Can Get It!You can also:Join us on Instagram here: ⁠⁠⁠https://www.instagram.com/strangeandbeautifulnetwork/⁠⁠⁠Join us on Patreon here: ⁠⁠⁠https://www.patreon.com/strangeandbeautifulnetworkFind us on YouTube here: https://www.youtube.com/channel/UCz9ENwKdHrm57Qmu8L4WXwQ ★ Support this podcast on Patreon ★

00:00:57 Introduction 00:03:39 Professor Elana Gomel 00:09:55 Charles Dickens as scifi writer 00:14:17 Stanislaw Lem and The Other 00:18:59 Anti-Humanism 00:22:46 Lem vs the SFWA 00:26:27 Beyond Humanism 00:28:12 LEM and Posthumanism 00:33:37 Fear of the Posthuman 00:38:00 Lem's criticism of non-existant novels 00:40:41 Lem on AI 00:47:08 Philosophy of Posthumanism 00:51:02 Monster Fantasies 00:54:47 Dangerous utopias 00:58:34 A new mythos of time 01:03:37 Why does Elon Musk like simulation theory? 01:08:08 The dangers of Messianic myths 01:11:09 Darko Suvin and socialism 01:14:24 Communism was oppressive and boring Become a member of the Science Fiction community to continue the discussion Website - https://damiengwalter.com YouTube - https://www.youtube.com/c/DamienWalter/membership Patreon - https://www.patreon.com/DamienWalter Subscribe to the Science Fiction podcast feed for long-form commentaries on these video essays https://damiengwalter.com/podcast/ Join the Science Fiction community on Facebook https://www.facebook.com/groups/324897304599197/ Equipment Camera https://amzn.to/41DpI1I Lens https://amzn.to/3tyH1nZ Microphone https://amzn.to/3RZ3sfD Laptop https://amzn.to/48eZDsf Recommendations Greatest scifi novel https://amzn.to/3GZgL9r First scifi novel https://amzn.to/41DazgK Worst scifi novel https://amzn.to/3S045FO Most overrated scifi writer https://amzn.to/3NIchI9

Liebe Leute, nachdem Falko Löffler und Jochen neulich in ihrem Buchpodcast (www.buchpodcast.de) den Science-Fiction-Klassiker „Der Unbesiegbare“ von Stanislaw Lem besprochen haben, besprechen sie heute zusammen mit André die 2023 erschienene Spiele-Umsetzung des Romans. Schließlich kommt es nicht alle Tage vor, dass ein Spiel zu einem Roman erscheint, noch dazu zu einem Genre-Meilenstein. Ist das Spiel am Ende auch ein Meilenstein – oder gibt‘s vielleicht einen Grund, warum seit 1964 niemand auf die Idee kam, aus dem Stoff ein Videospiel zu machen? Lehnen Sie sich zurück, eröffnen Sie sich ein Getränk und finden Sie es heraus. Guten Flug wünschen André, Jochen & Falko Timecodes: 00:00:00 - Einstieg 00:09:38 - Unterschied zwischen Spiel und Buch 00:25:36 - Erzählung vs. Gameplay 00:55:27 - Auflösung und Interpretation 01:25:06 - Erzählweise und Dialoge 01:49:36 - Kritik und Lob in der Spielepresse 02:09:57 - Fazit

"Solaris" by Stanislaw Lem follows a crew of scientists trying to understand an utterly alien intelligence--a planet covered by an ocean of (apparently?) conscious goop. How can we communicate with something truly, truly foreign to our evolution and understanding? How can we even confirm it's "intelligent"?   John Krikorian returns to discuss.