"Without San Francisco, Star Wars wouldn't exist," says David Reat, the culture studies director of the architecture department at Glasgow's University of Strathclyde.

SFGate reports: Lucas was born and raised in Modesto, where his father expected him to run the family stationery store once he turned 18, but Lucas instead left for Los Angeles, where he studied film production at the University of Southern California, before moving to San Francisco. Despite all that these cities had to offer, Lucas constantly found himself conflicted over his feelings toward them. "The battle of living in the country versus living in the city is huge with Lucas," says Reat, who notes that this theme runs throughout the likes of "THX 1138," "American Graffiti" and the "Star Wars" series. "He sees cities as the givers and takers of things. He's fascinated by cities. He doesn't actually want to live in one. He now lives in a ranch near one. He wants to orbit them. He's a paradox."

When Lucas moved to San Francisco in the late 1960s, there were a number of huge building projects taking place across the city that piqued the burgeoning filmmaker's interest, most notably the construction of BART and a new terminal at San Francisco airport. "Infrastructure really fascinated Lucas. They were these big huge alienating spaces," says Reat. "I think Lucas was driving around San Francisco, looking at them, and seeing that they looked alien." There's a reason why Lucas was particularly interested in the architecture in San Francisco: "He's on record as saying he wanted to be an architect," says Reat. "He has referred to himself as a frustrated architect." Lucas' interest provoked him and his creative team to put extra care and thought into each of the "Star Wars" buildings, vehicles, houses, villages, cities, worlds and galaxies, especially when it came to what they symbolized and represented.

"The architecture in the films play a key role for younger viewers," says Reat, explaining that it helps to indicate who is good and who is evil. When it comes to the Death Star there are "no women, no plants, no signs of life, and it's basically the Nazis in space," continues Reat. "Lucas doesn't like modernism. He always uses it for bad things, a bit like every James Bond baddie." Meanwhile, Luke Skywalker and the rest of the light side of the Force are seen living in "exaggerated domesticity" as they sit around drinking blue milk, surrounded by creatures. "There's a care and a weirdness to their architecture, plus it's loaded with color," says Reat, who adds that these choices help to make those characters more appealing and relatable....

The San Francisco International Airport also played a key role in the making of "Phantom Menace." A tour of its maintenance bay gave the film's creative designers a jolt of inspiration when they were creating Anakin's podracer and other vehicles.
The article also adds that the inspiration for the Theed Royal Palace on Naboo in The Phantom Menace was "the Marin County Civic Center, where Lucas once served jury duty."

Long-time Slashdot reader destinyland writes: A new book identifies "26 Lines of Code That Changed the World." But its cheeky title also incorporates a comment from Unix's source code — "You are Not Expected to Understand This". From a new interview with the book's editor:

With chapter titles like "Wear this code, go to jail" and "the code that launched a million cat videos," each chapter offers appreciations for programmers, gathering up stories about not just their famous lives but their sometimes infamous works. (In Chapter 10 — "The Accidental Felon" — journalist Katie Hafner reveals whatever happened to that Harvard undergraduate who went on to inadvertently create one of the first malware programs in 1988...) The book quickly jumps from milestones like the Jacquard Loom and the invention of COBOL to bitcoin and our thought-provoking present, acknowledging both the code that guided the Apollo 11 moon landing and the code behind the 1962 videogame Spacewar. The Smithsonian Institution's director for their Center for the Study of Invention and Innovation writes in Chapter 4 that the game "symbolized a shift from computing being in the hands of priest-like technicians operating massive computers to enthusiasts programming and hacking, sometimes for the sheer joy of it."

I contributed chapter 9, about a 1975 comment in some Unix code that became "an accidental icon" commemorating a "momentary glow of humanity in a world of unforgiving logic." This chapter provided the book with its title. (And I'm also responsible for the book's index entry for "Linux, expletives in source code of".) In a preface, the book's editor describes the book's 29 different authors as "technologists, historians, journalists, academics, and sometimes the coders themselves," explaining "how code works — or how, sometimes, it doesn't work — owing in no small way to the people behind it."

"I've been really interested over the past several years to watch the power of the tech activists and tech labor movements," the editor says in this interview. "I think they've shown really immense power to effect change, and power to say, 'I'm not going to work on something that doesn't align with what I want for the future.' That's really something to admire.

"But of course, people are up against really big forces...."

iONiUM writes: According to a few news articles, the general public has taken notice of all the recent security breaches in open source software. From the article: "Hackers have shaken the free-software movement that once symbolized the Web's idealism. Several high-profile attacks in recent months exploited security flaws found in the "open-source" software created by volunteers collaborating online, building off each other's work."

While it's true that open source means you can review the actual code to ensure there's no data-theft, loggers, or glaring security holes, that idealism doesn't really help out most people who simply don't have time, or the knowledge, to do it. As such, the trust is left to the open source community, and is that really so different than leaving it to a corporation with closed source?"

Advocate123 writes "Clearly, Hollywood has forgotten the, 'Real American Hero.' G.I. Joe originally symbolized the American WWII soldier and a great generation. Now Hollywood celebrities are going to turn him into a international multicultural coed task force with no government affiliations. Isn't anything sacred to these people?"

From the beginning, the Net has always seemed to have a heart - a locus, a center of activity. At first the academics and defense researchers who'd created and patched together its architecture were its pulse. Then hackers in suburban bedrooms all over the country became the epicenter, followed by the free music and intellectual property guerrillas; the open source, online rights activists and advocates; the Wired magazine gurus and visionaries, and the Web creators, programmers and designers. After that, the Silicon Valley entrepreneurs and the dot.com capitalists took over. This culture is becoming increasingly diverse, commercial and subterranean. Where's the heart of the Net now? A.I. or AOL?

Author Leonard F. Wheat wrote the following response to Cliff Lampe's review of his book 2001: A Triple Allegory . Wheat has certainly convinced me about several points, though not on every one. Hang on tight, please keep arms and legs inside the cart.

Properties of Light is a dark and beautiful novel (set in a school suspiciously like Princeton) about three physicists whose lives unravel as they struggle to reconcile quantum mechanics with relativity. Rebecca Goldstein really pulled off a hat trick, turning physics into first-rate fiction.

Hackers is probably the first book I read that made me think of computers as the substrate of a social world rather than just boxes with lights. The book came out in 1984, though, and a lot's changed since then. Read on, as topeka lets you know how well Levy's techno opus has aged.

The bad news about the new Netscape-AOL-Sun conglomerate is that the battle between individual expression and freedom and corporation domination and greed on the Web just got a lot uglier. We're getting the one thing the world needs the least: another giant, powerful and synergistic information hydra. We don't, as journalists are saying, finally have some competition for Microsoft. We just have another Microsoft.

And the good news? There isn't any: