By William Hertling
Leon Tsarev is a highschool scholar set on entering into a good university software, until eventually his uncle, a member of the Russian mob, coerces him into constructing a brand new malicious program for the mob’s botnet - the slave military of pcs they used to devote electronic crimes.
The evolutionary virus Leon creates, in line with organic rules, is winning -- too winning. all of the world’s desktops are contaminated. every little thing from vehicles to fee structures and, in fact, pcs and shrewdpermanent telephones cease functioning, and with them cross crucial capabilities together with emergency companies, transportation, and the meals provide. Billions may well die.
But evolution by no means stops. The virus maintains to conform, constructing intelligence, verbal exchange, and eventually a whole civilization. a few will be pleasant to people, yet others are not.
Leon and his partners needs to race opposed to time and the army to discover the way to both befriend or put off the virus race and repair the world’s laptop infrastructure.
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Extra resources for A. I. Apocalypse (Singularity, Book 2)
Miethke and K. Schreiner (eds), Sozialer Wandel im Mittelalter: Wahrnehmungsformen, Erklärungsmuster, Regelungsmechanismen (Sigmaringen: Thorbecke). Petro, P. (1989) Joyless Streets: Women and Melodramatic Representation in Weimar Germany (Princeton, NJ: Princeton University Press). Rothwell, K. S. (2002) ‘Hamlet in Silence: Reinventing the Prince on Celluloid’, in L. Starks and C. Lehmann (eds), The Reel Shakespeare: Alternative Cinema and Theory (Cranbury, NJ: Associated University Press). Rubin, G.
Freccero, C. (2006) Queer/Early/Modern (Durham, NC: Duke University Press). Greenblatt, S. (2002) Hamlet in Purgatory (Princeton, NJ: Princeton University Press). Guerin, F. (2005) A Culture of Light: Cinema and Technology in 1920s Germany (Minneapolis: University of Minnesota Press). Guntner, J. L. (1998) ‘Expressionist Shakespeare: The Gade/Nielsen Hamlet (1920) and the History of Shakespeare on Film’, Post Script: Essays in Film and Humanities, 17(2), 90–102. Gurevich, A. (1992) ‘Perceptions of the Individual and the Hereafter in the Middle Ages’, in J.
7 The set also looks very medieval, using the thirteenth-century imperial residence at Goslar (heavily restored in the nineteenth century) as the main location for the outdoor scenes. In this medieval world, modern assumptions about time as linear no longer apply. Boellstorff (2007, p. 232) argues that straight, linear time ‘cannot conceive of co-presence without incorporation’: one object cannot exist in the same place at the same time as another without subsuming it. But in the 1921 Hamlet, modern spectators have to get used to the co-presence of different points in time that are visualized by the different genders.
A. I. Apocalypse (Singularity, Book 2) by William Hertling