Bibliografie tematiche / Hackers – fiction

Letteratura scientifica selezionata sul tema "Hackers – fiction"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Hackers – fiction"

1

Michaud, Thomas. "La gestion d’un métavers ouvert par l’éthique hacker, une nécessité pour optimiser l’innovation". Marché et organisations Pub. anticipées (31 dicembre 2024): I109—XXIV. http://dx.doi.org/10.3917/maorg.pr1.0109.

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L’éthique hacker, reposant sur une pratique passionnée et décentralisée de l’informatique, est à l’origine de nombreuses innovations dans le secteur des TIC et au fondement de l’idéologie de la communication qui a notamment permis le succès de l’informatique personnelle et d’Internet. À l’heure du métavers, il convient de se demander si cette approche de l’innovation peut contribuer au développement de modèles ouverts, alternatifs à une gestion fermée de la Recherche et Développement (R&D). L’idée de métavers ouvert est notamment portée par le projet Lamina1 de l’auteur de science-fiction Neal Stephenson. En échange de l’apport de leurs compétences, les nouveaux hackers pourraient négocier une participation à la gestion du futur métavers. Un modèle d’innovation ouverte permettrait d’intégrer la multiplicité de leurs imaginaires technopolitiques afin de créer un métavers fidèle aux principes fondateurs de l’utopie de la communication, et non seulement aux désirs de quelques entrepreneurs dominants.
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2

Felt, Lindsey Dolich. "Cyberpunk's Other Hackers: The Girls Who Were Plugged In". Catalyst: Feminism, Theory, Technoscience 5, n. 1 (1 aprile 2019): 1–34. http://dx.doi.org/10.28968/cftt.v5i1.29615.

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Abstract (sommario):
This article locates an alternate paradigm of hacking in feminist cyberfiction, notably, James Tiptree, Jr.’s proto-cyberpunk novella, “The Girl Who Was Plugged In” (1973). I argue this story critically reorients our understanding of how information technologies and their material artifacts construct and reinforce norms of able-bodiedness and ability. Drawing on archival materials from Bell System, early information theory, and crip theory, my reading reveals that Tiptree’s portrayal of disability is tied to a cybernetic conception of error and noise. These frictions between users and their machine interfaces materialize unexamined performances of critical labor and noncompliance that I link to the emerging field of crip technoscience. Tracking these disruptions in cybernetic feedback across “The Girl Who Was Plugged In” and in historical accounts of the telephone switchboard operator, I show that error and noise underpin an early example of a feminist hacking ethos, and also crip accounts of electronic disembodiment often imputed to information society and cyberpunk fiction.
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3

Shultz, David. "Abrama's End Game". After Dinner Conversation 2, n. 5 (2021): 98–117. http://dx.doi.org/10.5840/adc20212545.

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What does it mean to be alive? Can a computer program be sentient? What would it need to do to prove it? In this work of philosophical short story fiction, Abrama is summoned to the Grand Temple by Sir Gödel. Gödel informs Abrama that he is living in a simulated world (a computer game) created by her people as a place to play in their free time. She also informs Abrama that the game is not as popular as it once was and is scheduled to be permanently turned off. It turns out Gödel is an AI researcher that was given permission to test out her AI by implanting characters like Abrama into the game. Over 100’s of versions, the AI continued to improve, and now the researcher feels an ethical obligation to tell her creations their world is coming to an end. Abrama, using this new information, organizes the AI characters in the game and starts trading virtual goods for real-life services from computer hackers that play the game. The computer hackers create computer code and sell it to Abrama. If triggered, or if the game is turned off, the code would expose top secret information to the general public. A bargain is struck, the game will continue on a closed world for the AI characters and, in exchange, the sensitive information will never be made public.
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Shultz, David. "Abrama’s End Game". After Dinner Conversation 5, n. 7 (2024): 67–90. http://dx.doi.org/10.5840/adc20245772.

Testo completo
Abstract (sommario):
What does it mean to be alive? Can a computer program be sentient? What would it need to do to prove it? In this work of philosophical short story fiction, Abrama is summoned to the Grand Temple by Sir Gödel. Gödel informs Abrama that he is living in a simulated world (a computer game) created by her people as a place to play in their free time. She also informs Abrama that the game is not as popular as it once was and is scheduled to be permanently turned off. It turns out Gödel is an AI researcher that was given permission to test out her AI by implanting characters like Abrama into the game. Over 100’s of versions, the AI continued to improve, and now the researcher feels an ethical obligation to tell her creations their world is coming to an end. Abrama, using this new information, organizes the AI characters in the game and starts trading virtual goods for real-life services from computer hackers that play the game. The computer hackers create computer code and sell it to Abrama. If triggered, or if the game is turned off, the code would expose top secret information to the general public. A bargain is struck, the game will continue on a closed world for the AI characters and, in exchange, the sensitive information will never be made public.
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5

Fedorova, Yuliia, e Nina Voievodina. "Verbal contour of the ‘CYBERSPACE’ concept in the modern english-language world’s picture". Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, n. 21 (2019): 199–206. http://dx.doi.org/10.34079/2226-3055-2019-12-21-199-206.

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Abstract (sommario):
The article explores word innovations in modern English in the sphere of cyberspace. Such subgroups as INTERNET, E-MAIL, DATA, SOCIAL NETWORKING, PROGRAMMING AND SOFTWARE, HACKING AND HACKERS, IT-TECHNOLOGIES are considered as parts of the suggested concept. But it should be pointed out that three subgroups of the mentioned concept: INTERNET, E-MAIL, DATA are investigated as the representative ones. Beginning with studies that have gradually emerged as linguocultural studies, linguists have chosen the notion of the linguistic picture of the world as central to describing a complex and multidimensional mechanism of reflection in the language of reality and consciousness. Gradually, it became clear that the linguistic picture of the world is a multilayered entity and embraces verbalized frames, concepts, stereotypes, customs, rituals and values. The concepts themselves, frames, belong to the conceptual picture of the world or the concept sphere. The conceptual picture of the world is at the heart of the linguistic picture of the world, it is a more universal concept. The linguistic picture of the world is created in the nomination process, it is a key component of national culture. The basic elements of the linguistic picture of the world are verbalized universals and nominations denoting national-specific concepts. Universal and nationally labeled concepts can be verbalized in both individual words and idiomatic units. In the context of our research, we aimed to describe key concepts as part of the conceptosphere of modern British society, namely the 'CYBERSPACE' concept. The main value concepts were selected as a result of the analysis of non-fiction, including newspapers and magazines in print and electronic. The UK is a multinational country, but the study did not take into account the values of the individual national groups that make up the British nation, because it was interesting to explore the value concepts shared by the majority in the country and help reflect the most common features of the British national mentality. The development of society, economy, expansion of spheres of activity and sources of profit influenced the lexical formulation of concepts. The concept of 'CYBERSPACE' is represented by the following sub-groups: INTERNET, E-MAIL, DATA, SOCIAL NETWORKING, PROGRAMMING AND SOFTWARE, HACKING AND HACKERS, IT-TECHNOLOGIES. It is well known that modern society has existed in the age of IT-technologies, so the emergence of such a concept as 'CYBERSPACE' may be explained by the fact that the information revolution in the early 21st century continued to be the most influential factor in the processes of replenishing the English vocabulary. The «Internet» of society, in particular, is associated with the largest number of vocabulary and phraseological innovations of recent times.
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Wilson, Peter. "Reasons to Travel to Italy (part one), under the Telefonino". Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, n. 1 (maggio 2013): 23–39. http://dx.doi.org/10.31921/constelaciones.n1a1.

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Abstract (sommario):
Hacker’s Telefonino is a speculative dialogue between the three figures in the 1782 painting of an erupting Etna by the Italian based, German Neoclassical landscape painter Jacob Philip Hackert. The other two are English, Charles Gore and Richard Payne Knight, grand-tourists who subsequently play significant roles in trans-European networks and the English landscape movement, the emergence of subjective perception: the Picturesque. The text oscillates between the art historical exactitude of its biographi-cal notes, and the fictionality of the pictures subject, and a further fictio-nality manifested by the trans-historical mobile telephone, enigmatically hovering like a techno-Holbein in the pictures foreground.
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Mehrstam, Christian. "WarGames and the Refamiliarization of the Hacker". Genre 55, n. 3 (1 dicembre 2022): 235–58. http://dx.doi.org/10.1215/00166928-10146764.

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Abstract (sommario):
John Badham's cult film WarGames (1983) is widely recognized as one of the most influential narratives shaping the popular image of the hacker. Research and critiques are, however, conflicted regarding what that influence is. Some see it as troubling and countercultural, others as light-hearted and conservative. Little attention has been given to the fact that WarGames is a convergent narrative working across multiple media. In a study of David Bischoff's eponymous tie-in novel, this article reveals a composite genre vehicle focused on the new kind of kid rather than the new technology. The protagonist is presented as an outsider by means of literary science fiction devices, only to be made more “normal” and recognizable as part of the school story, love story, and thriller. This refamiliarization gives WarGames a conservative potential, less evident but still present in the film. While it cannot completely neutralize the countercultural character of the hacker gestalt, it seeks to affect the audience's interpretation of WarGames as a media ensemble. The article's result brings nuance to the conflicted assessments of WarGames and contributes to the understanding of the narrative's influence on digital youth discourse at the peak of the personal computer revolution.
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8

Dudek, Debra, e Nicola F. Johnson. "Return of the Hacker as Hero: Fictions and Realities of Teenage Technological Experts". Children's Literature in Education 42, n. 3 (10 luglio 2011): 184–95. http://dx.doi.org/10.1007/s10583-011-9137-0.

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9

Henderson, Heike. "Mapping the Future? Contemporary German-Language Techno Thrillers". Crime Fiction Studies 1, n. 1 (marzo 2020): 96–113. http://dx.doi.org/10.3366/cfs.2020.0009.

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Abstract (sommario):
Contemporary German-language techno thrillers by Tom Hillenbrand and Marc Elsberg invite readers to imagine a future marked by constant surveillance and predictive technology. New models of data mining and risk assessment are being used to inform decisions and trigger actions, but due to their complete reliance on digital data, they are open to being hacked and gamed. Lack of privacy, an elimination of boundaries between actual reality and the virtual world, and a blurring of the distinction between fact and fiction impacts both crime and detection; it has ramifications on the way we will solve crimes as well as on the types of crime that will be committed. Techno thrillers are uniquely positioned to explore moral grey areas in a security landscape affected by widespread globalisation and neoliberal privatisation, and to map possible developments in imaginative ways. They are today's globalised genre par excellence. These thrillers, that for linguistic reasons have escaped consideration in crime fiction scholarship, reflect and respond to crucial discussions about security, (virtual) reality, and artificial intelligence that are of utmost concern in our rapidly changing world.
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Klincewicz, Michał. "Autonomous Weapon Systems, Asymmetrical Warfare, and Myth". Civitas. Studia z filozofii polityki 23 (15 dicembre 2018): 179–95. http://dx.doi.org/10.35757/civ.2018.23.10.

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Predictions about autonomous weapon systems (AWS) are typically thought to channel fears that drove all the myths about intelligence embodied in matter. One of these is the idea that the technology can get out of control and ultimately lead to horrifi c consequences, as is the case in Mary Shelley’s classic Frankenstein. Given this, predictions about AWS are sometimes dismissed as science-fiction fear-mongering. This paper considers several analogies between AWS and other weapon systems and ultimately offers an argument that nuclear weapons and their effect on the development of modern asymmetrical warfare are the best analogy to the introduction of AWS. The fi nal section focuses on this analogy and offers speculations about the likely consequences of AWS being hacked. These speculations tacitly draw on myths and tropes about technology and AI from popular fi ction, such as Frankenstein, to project a convincing model of the risks and benefi ts of AWS deployment.
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Più fonti

Tesi sul tema "Hackers – fiction"

1

Kelly, Nicholas M. "The freedom of information hacked: console cowboys, computer wizards, and personal freedom in the digital age". Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6778.

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Abstract (sommario):
“The Freedom of Information Hacked: Console Cowboys, Computer Wizards, and Personal Freedom in the Digital Age” examines depictions of computer hackers in fiction, the media, and popular culture, assessing how such depictions both influence and reflect popular conceptions of hackers and what they do. In doing so, the dissertation demonstrates the central concerns of hacker stories—concerns about digital security, privacy, and the value of information—have become the concerns of digital culture as a whole, hackers laying bare collective hopes and fears regarding digital networks.
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Libri sul tema "Hackers – fiction"

1

Jack, Dann, e Dozois Gardner R, a cura di. Hackers. New York: Ace Books, 1996.

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2

Bischoff, David. Hackers. New York: HarperCollins Pub., 1995.

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3

Bischoff, David. Hackers: A novel. New York, N.Y: HarperPaperbacks, 1995.

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4

illustrator, Dennis Peter 1950, a cura di. The happy hackers. Bothell, WA: Wright Group, 1996.

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5

Falkner, Brian. Brain Jack. New York: Random House Children's Books, 2010.

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6

Westbrook, Charles L. The Kabalyon key: A novel from the Winston family chronicles. Greenville, N.C: Cathedrall Press, 2009.

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7

Barnes, Steven. Blood brothers. New York: TOR, 1997.

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Barnes, Steven. Blood brothers. New York: TOR, 1996.

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9

Clancy, Tom. Tom Clancy's Net force explorers 7. New York: Berkley, 2000.

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10

Aylett, Steve. Slaughtermatic. New York: Four Walls Eight Windows, 1998.

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Capitoli di libri sul tema "Hackers – fiction"

1

Tseng, Chia-Chieh Mavis. "Introduction: Memory and Fiction in the Twenty-First Century". In Memory Made, Hacked, and Outsourced, 1–27. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-9251-3_1.

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2

"The Spirit of the Information Society, Technologies, and Citizens". In Considerations on Cyber Behavior and Mass Technology in Modern Society, 97–122. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-8228-5.ch005.

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Abstract (sommario):
Since years the hackers' movement warns about it. For a huge cultural misunderstanding, we are going on trying to learn new technologies according to the rules of the old school or using them as if we could learn directly from the market. The most cannot properly use the present devices too powerful and easy, and many ideas on the future come from science fiction. It's difficult to understand that the Web is made by each of us and depends on what we put in it, more than on our visits online. Once the Internet was attended by a small vanguard capable of managing websites and blogs, gathering in communities, innovating audiovisual and media, sharing experiences and knowledge. Since several years we are billions crowded in networks much more commercial than social, where no technical skills or references to reality are required: Really “ready” for the incoming metaverse, AI and the Web3?
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"Fiction of Scandal Redux". In Leaks, Hacks, and Scandals, 127–45. Princeton University Press, 2018. http://dx.doi.org/10.2307/j.ctv346n75.9.

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El-Ariss, Tarek. "Fiction of Scandal Redux". In Leaks, Hacks, and Scandals, 127–45. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691181936.003.0004.

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This chapter analyzes the works of Rajaa Alsanea (b. 1981) and Khaled Alkhamissi (b. 1962) as the fiction of the leaking subject who wants to reveal it all, mimicking e-mails about the private life of individuals turned characters and recording and circulating scenes of abuse and violation on the street through novelistic scenes. It argues that the author, who is traditionally understood as the function of discourse in Foucault or as the object of sacrifice in Barthes, emerges in this new fiction as the scandalous function of the leak that recodes the novel as medium. It explores how literature is reimagined and reaffirmed in instances of greed, exhibitionism, confrontation, and hacking that affectively grab and move readers, marking the emergence of a new literary culture and aesthetics tied to the bestseller and the pursuit of fame.
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"4. Fiction of Scandal Redux". In Leaks, Hacks, and Scandals, 127–45. Princeton: Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691184913-007.

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El-Ariss, Tarek. "The Infinite Scroll". In Leaks, Hacks, and Scandals, 89–126. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691181936.003.0003.

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This chapter focuses on Saudi “tweeter” Mujtahidd, who has been leaking by “showing the inside” of the Saudi government and royal family since 2011. It explores how the leaking subject, the unknown Mujtahidd or Mujtahidd the “mystery,” constructs himself as an online character (avatar), author, and knower. Drawing on classical Arabic prose genres such as akhbār (anecdotes, news, lore), it reads the fiction of the leak in relation to the genres of serialized novels and TV series. It argues that the collapse between Twitter user and Twitter as such is at work in Mujtahidd's case as well. Mujtahidd fuses with Twitter, reproducing it as function of revelation, writing genre, and machine à scandale.
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El-Ariss, Tarek. "Cyber-Raiding". In Leaks, Hacks, and Scandals, 146–72. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691181936.003.0005.

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Focusing on the Internet as a space of regression and harassment following the Arab uprisings, this chapter traces the violence perpetrated against Arab authors, activists, and intellectuals online to the emergence of fiction as hyperreality principle. Investigating the relation between reading practices and knowledge production, and continuing the examination of the function of the author as leaking subject in the digital age, it focuses on the act of fragmenting the work itself through online campaigns and perverse literary performances. Specifically, it examines a hashtag campaign—in fact, a hashtag ghazwa (tribal raid)—launched on Twitter against a Saudi author, Badriah Albeshr [al-Beshr] (b. 1967), who was accused of apostasy for passages in her novel Hend and the Soldiers (2010).
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El-Ariss, Tarek. "On Leaking". In Leaks, Hacks, and Scandals, 30–57. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691181936.003.0001.

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This chapter explores leaking as bodily function, tying it to fiction and author function. Engaging the theoretical framework of the leaking body from The Arabian Nights onwards, it examines how leaks became WikiLeaks, thereby questioning their framing as an attempt to fix the empire or restore the violated subject of the liberal state whose rights and privacy have been suspended or tampered with. The chapter traces the transformation of the leaker into superstar traitor and hero, and the making of the leak as “true knowledge” or encyclopedic knowledge by adding “Wiki” to “Leaks.” It argues that as leakers occupy liminal states of juridical limbo such as embassies, airports, and solitary confinement, their bodies become marked and their subjectivity undone and reconstituted while simultaneously undoing and reconstituting the law that they purportedly violate.
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"HACKED AQEDAH—GENESIS 22 IN DIALOGUE WITH CONTEMPORARY POLITICAL SCIENCE FICTION". In "Not in the Spaces we Know", 75–92. Piscataway, NJ, USA: Gorgias Press, 2017. http://dx.doi.org/10.31826/9781463237677-005.

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Maurer, Bill. "Signatures". In Paid, a cura di Bill Maurer e Lana Swartz. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035750.003.0010.

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Digital signature pads, which require the use of an electronic stylus to draw one’s signature on a screen to authorize a transaction, are an occasion for play and politics. They raise questions, too, about the legal status of the signature and its possible futures under digitization. The chapter looks at signature pad art as well as hacks that force the generation of a paper receipt to avoid signature capture. It places such practices in the history of trompe l’oeil money painting in the 19th century US, which commented on money, representation, fiction, counterfeits, and reality, and the mortgage crisis, in which signatures played a big role in authorizing bad loans. Bringing in the work of graphic designer Troy Kreiner, who made a collaborative work involving imaginary signatures on tablet screens, the chapter argues that paper still shapes the imagination and the legal status of the signature as both the sign of sovereign identity and as an ephemeral afterthought, or a joke.
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