“Literally” Two-Thousand Fourteen Links

Nuclear and Environment

US War Department’s Archival Footage of the Bombing of Hiroshima.


H. Bruce Franklin, “Hiroshima, Nagasaki, American Militarism,” a review of Paul Ham‘s Hiroshima Nagasaki: The Real Story of the Atomic Bombings and Their Aftermath.

Mark Strauss, “Federal Employee Gets Fired After Writing an Article Criticizing Nukes.”

Lindsay Abrams, “Researchers: Warming Responsible for Siberia’s Mysterious Hole.”

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May Links

Digital Culture

Conor Friedersdorf, “The Strangest Interview Yet With the Outgoing Head of the NSA.”

And here’s John Oliver’s interview with General Keith Alexander, outgoing head of the NSA.

Adam Kirsch, “Technology is Taking Over English Departments: The False Promise of the Digital Humanities.”

Nilay Patel, “The Internet is Fucked.”

Mark Sample on torture in videogames, “Sites of Pain and Telling.”

An interview with Brian Tomasik, who thinks killing videogame characters is immoral.

On work in videogames: Steven Poole, “Working for the Man.”

Rey Junco, “Beyond ‘Screen Time’: What Minecraft Teaches Kids.”

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Some Recent Apocalyptic Stuff

Over in Guernica, there are two recent articles. One is Alexis Madrigal’s “Nuclear Haze,” which discusses some of the historical markers of nuclear energy. The other is an excerpt from Slavoj Žižek’s Living in the End Times, titled (quite interestingly) “The Un-Shock Doctrine.”

David James Keaton pointed me to these 51 post-apocalyptic images (though most of them look like they come from, or are art accompanying the Fallout games). Here’s a sample:

It turns out that Leó Szilárd , one of the father’s of the atomic bomb, wrote some posthuman sf.

Junot Díaz weighs in on the apocalypse, at the Boston Review.

And an excerpt from Evan Calder Williams’s quite fascinating Combined and Uneven Apocalypse (Winchester, UK: Zero Books, 2011):

“However, The Bed Sitting Room and the salvagepunk aesthetic more generally grasps that we’ve been living after the apocalypse for a while now, and that the problem is too much of the hidden has been revealed. Too much uncovered data, too many telling images, too many public secrets. It’s piling up everywhere and making it impossible to find the correct enemies, the right cracks to widen, the right ways to attack and build better. In this sense, salvagepunk post-apocalypticism is concerned with being more apocalyptic than the apocalypse: clearing away the clutter to reveal the true hidden-in-plain-view, namely, the deep, permanent antagonisms on which capitalism runs and the untenability of that system’s capacity to run” (56).