knigalyb Воскресенье, 26 Марта 2017 г. 10:33 (ссылка)
rss_rss_boingboing Вторник, 21 Марта 2017 г. 22:42 (ссылка)
rss_rss_boingboing Понедельник, 20 Марта 2017 г. 16:21 (ссылка)
rss_rss_boingboing Понедельник, 20 Марта 2017 г. 16:16 (ссылка)
rss_rss_boingboing Суббота, 18 Марта 2017 г. 15:29 (ссылка)
rss_rss_boingboing Суббота, 18 Марта 2017 г. 15:17 (ссылка)
rss_rss_boingboing Среда, 15 Марта 2017 г. 20:35 (ссылка)
rss_rss_boingboing Вторник, 14 Марта 2017 г. 20:55 (ссылка)
rss_rss_boingboing Среда, 09 Марта 2017 г. 02:53 (ссылка)
rss_rss_boingboing Среда, 08 Марта 2017 г. 15:29 (ссылка)
Daniel Sol'e is the creator of @FutureCNN, an icily satirical Twitter account that depicts CNN freeze-frames from a few months in the Trumpian future.
In his new video, all the soulstring-tugging marketing techniques AirBNB put to use in its anti-Trump superbowl ad are recast in the same way: the same voice, but addressing the direr straits of an indefinite but imminent tomorrow.
There's a weird power to it. Like @FutureCNN's chyrons, which ridicule both Trump's grossness and CNN's inanity, this targets two things: Trump's grossness and the glassy manipulations of advertising. The satirical notes are exactly the sort of thing that a marketing agency would deploy to leaven an ad trading in holocaust imagery to appeal to its progressive market (albeit taken to a mocking extreme.)
That said, the implication that startups will remain liberal-oriented is at least optimistic! I, however, anticipate a future where these ostensibly progressive tech companies flip their script without dropping their smile. Same voice but new values, with the proverbial unannounced floorboard inspections buried in the small print.
"Ads from the future" is just my cup of tea.
rss_rss_boingboing Воскресенье, 05 Марта 2017 г. 22:11 (ссылка)
rss_rss_boingboing Воскресенье, 26 Февраля 2017 г. 22:06 (ссылка)
knigalyb Четверг, 23 Февраля 2017 г. 18:58 (ссылка)
rss_rss_boingboing Среда, 22 Февраля 2017 г. 23:03 (ссылка)
knigalyb Среда, 22 Февраля 2017 г. 16:02 (ссылка)
rss_rss_boingboing Вторник, 21 Февраля 2017 г. 18:43 (ссылка)
rss_rss_boingboing Воскресенье, 19 Февраля 2017 г. 16:07 (ссылка)
This week I got a chance to un-pack this collection. I've had it for about 10 years now and it has been in boxes the whole time.
I absolutely love this cover. It is unabashedly silly. What is that boy even doing with that dog? Why lug that iron lung so far from your home-dome if the dog can't even walk around? That thing has to weigh a ton. All joking aside, there's something delightful about all the space covers from before 1961, when Yuri Gagarin became the first human in space. Interestingly though, the first dog in space was Laika, in 1951, so I guess they really have no excuse!
knigalyb Пятница, 17 Февраля 2017 г. 07:21 (ссылка)
rss_rss_boingboing Воскресенье, 12 Февраля 2017 г. 16:37 (ссылка)
[caption id="attachment_509018" align="alignright" width="300"] April '67 issue[/caption]
This issue of Worlds of IF, Science Fiction, commonly just referred to as IF Magazine has a peculiar cover. The white space almost makes this look like a reprint of some kind, however, it isn't. This is how they chose to deliver this one issue. Most issues during the 60's have a simple white band across the top, with full width art. I haven't been able to find any explanation as to why this cover has peculiar use of the white space. Here is an image of a typical cover from the 60's for comparison.
IF Magazine has a tendency to list only the last name of their illustrators. This can cause quite a bit of confusion if you're researching. For example, the cover for this issue is simply labelled as McKenna. As it turns out, that is Richard McKenna. That same year another Richard McKenna, the author Richard (M) McKenna, illustrated one of his own stories: When the Stars Answer, in another publication. This is confusing!
Virgil Finlay is an easy one to sort out, but what about Nodel? Is that Norman Nodel the comic book artist? I don't see this publication listed anywhere in his works, and I did manage to find one of his signatures somewhere and it doesn't quite match up to the ones in the illustrations below. Then again, that N does look quite similar. I have no idea.
Publication: Worlds of IF Science Fiction
Issue: January 1964, Volume 13, Number 6
cover: McKenna[caption id="attachment_508396" align="aligncenter" width="600"] by Nodel for The Competitors[/caption][caption id="attachment_508398" align="aligncenter" width="600"] by Finlay for Waterspider[/caption]
Every time I look at this one, my mind immediately sees Atlas, holding the earth on his shoulders. It takes a moment for me to register that the scenario is nothing like that.[caption id="attachment_508397" align="aligncenter" width="600"] by Nodel for The Competitors[/caption][caption id="attachment_508399" align="aligncenter" width="600"] by Finlay for Waterspider[/caption]
This looks like a scene right out of Men in Black. I love these illustrations where the artist gets to go wild thinking of creatures. I can just imagine how much fun that would be.
Here's an advertisement that is a true sign of the times. Custom book plates to place on the inside cover of your prized possessions. This way when someone borrows it, they won't forget who owns it. I stumbled for a moment on BEM. For those of you who aren't aware, those are "Bug Eyed Monsters". Most advertisements don't typically acknowledge the illustrators, however, you can see the names listed here clearly.
Inside this issue, I saw something that was pretty neat. Here is an advertisement for a free copy of The Unpublished Facts of Life. These are the teachings of the Rosicrucians, which are a world-wide order of mysics. They're still around and you can learn more about them in this video.
[caption id="attachment_508402" align="aligncenter" width="600"] by McKenna for Three Worlds To Conquer[/caption][caption id="attachment_508403" align="aligncenter" width="600"] by McKenna for Three Worlds To Conquer[/caption][caption id="attachment_508404" align="aligncenter" width="300"] by McKenna for Three Worlds To Conquer[/caption][caption id="attachment_508405" align="aligncenter" width="300"] by McKenna for Three Worlds To Conquer[/caption][caption id="attachment_508406" align="aligncenter" width="600"] by Morrow for Mack[/caption]
This was the tear-out from the middle of the issue. You would fill our your subscription and use this envelope to mail it in, to renew your account. I just thought that the little Santa in the UFO was delightful, and thought you might enjoy it.
Now in the UK! Pre-order signed copies of the first edition hardcover of Walkaway, my first adult novel since MakersСуббота, 11 Февраля 2017 г. 19:52 (ссылка)
rss_rss_boingboing Суббота, 11 Февраля 2017 г. 13:00 (ссылка)
In 2015, Kim Stanley Robinson wrote a compelling and sobering article for Boing Boing titled, “Our Generation Ships Will Sink.” Robinson argued that humanity’s hope for spreading among the stars, an ancient longing popularized during the Golden Age of science fiction, and later, the Golden Age of television and science fiction film, was an impossible longing that we would most likely never be able to fulfill. This grasping for the stars could not logically occur because of the physical, biological, ecological, sociological, and psychological limitations of human beings. In summary, Earth was our one and only home, and we are as intrinsically tied to it as the flora in our own guts are tied to us. If we go, they go. When Earth goes, we go.
There is a call to action in this epiphany, and it is that we must take care of this, our only home, and invest in it and its future with all the madness and passion we have invested in the stars.
While I agree wholeheartedly that we should invest in maintaining our home, I also recognize that this sobering damper on the speculative imagination is also dangerous. Focusing only on what is known, what can be seen and observed, when we are incredibly limited in what we can see and observe, breeds complacency. Cutting off a doorway, a possibility, is a rejection of innovation. There is no greater threat to progress than the phrase, “That’s impossible.”
I, too, write speculative worlds. I also live in a world that was once speculative to the generations that came before me. I do impossible things today – flying in a great metal bird in the sky, pulling maps from satellites circling the earth as I drive, crossing impossible distances in a vehicle that burns dead dinosaurs for fuel.
If we figured out how to jettison ourselves from the Earth, we can figure out how to alter ourselves to traverse the incredible distances between stars and even galaxies. And here, then, is the difference in ideas that drives my writing as opposed to that of many other science fiction writers. I understand that space travel and expansion is just as much about altering ourselves, our attitudes, our social structures, our very biology, as it is about altering the places we choose to live.
Robinson is right that the distances are long, that we are reliant on Terran bacteria, that our current starship technology cannot sustain us, that human psychology and physiology are not optimized for deep space, let alone new planets. But at no point does Robinson’s piece consider that to take the stars we will have to change ourselves. In fact, we will have to interrogate what it is to be human, and remake the human body and mind. Much of our science fiction still looks out at the universe from the vantage of the colonizer: we are the Galactic Empire, imposing our Terran biological needs on the unsuspecting lands – populated or not – where we plant our flags. Instead, we must reframe this expansion as an evolution of humanity. We must see ourselves not as colonizers or parasites, but as organisms seeking symbiosis with the ecological systems of other worlds. Because if we go into space as colonizers, then yes, Robinson is right: we will absolutely fail.
Many science fiction novels focus on the nuts and bolts of engineering and physics while ignoring or glossing over concerns related to biology and sociology, the much-dismissed “softer” sciences that most likely the key to helping us reach the stars. The left-brain wants something predictable, knowable; it wants a button to push, and a clear line of causation. But organic life is a lot messier than a computer switch.
For a short time, this button-pushing future created only on what is known instead of what could be possible led to the attempted science fiction “mundane SF” movement, which suffered from lackluster branding (who wants to read something mundane?) and a depressing lack of wonder (“we’re all going to die!” isn’t exactly an inspiring message). Human beings thrive on imagination and pushing boundaries and limitations. Imposing limits when we don’t actually have any true idea of what’s possible is like imposing a steel trap over the mind.
So much of the future and the possible is unknown that when we build it, we have to reach for the fantastic. Take the current pace of discovery and progress in materials science, immunotherapy, quantum mechanics, and leap forward two hundred, three hundred, five hundred years. How much of what we believe to be true now will still be true? How many immutable facts will turn out to be, well, mutable?
Robinson likens generation ships to islands, and like islands, notes that they would be especially vulnerable to disease and blight, and incursions from rapidly evolving bacteria. Our bodies would change in unknown ways. This is true. I would argue, then, that we need to think of our generation ships not as metal islands, but as organic, fleshy worlds unto themselves, with interconnected ecosystems. What happens when the starship itself is a biological organism, a living and breathing thing, and we are the fauna living its guts?
This was a concept I explored deeply in my novel, The Stars are Legion. Because certainly, we will change if we create and inhabit a living organism to which we are intrinsically tied. The Earth has shaped our evolution in every way, and our world-ships will no doubt do the same. Perhaps we’ll never be able to leave these ships. But propelling ourselves across the universe inside a self-sustaining world that can repair and reproduce itself solves the problems of distance and reduces the chance of ecological collapse, particularly if the worlds moved together as a legion and included independent layers of systems so that if one began to decline, another would rise. Think of it as naturally evolving back-up systems.
Those who arrive in the next star system, if they have created societies that allow them to change what we currently consider to be the intrinsically human foibles of war and strife and pettiness and bickering, will require time to adapt to a new environment. Consider how symbiotic parasites can chemically change and shape their hosts to suit them. Now imagine a ship is programmed to merge its flora and fauna with a new planet when it arrives, making the world-ship, now, into a living terraforming machine, a bacterial incubator that rapidly adapts the local environment to sustain its hosts. If symbiotic parasites can do this here on earth, why can’t we hurl something like it through space?
Creating a future requires a profound and yes, unrealistic, vision of what is possible. But it is fantasy and wonder that drive technology and innovation. The stories of Pygmalion and his statue come to life, the Star Trek communicator; even flight itself was once considered a mathematical impossibility. The Taser, too, was inspired by an outlandishly fictional “electric rifle” that was written into Tom Swift stories at the turn of the last century.
When science fiction writers ask why it is so many readers have turned away from science fiction, consider that in much of our work, readers experience a fear and exhaustion with the future. We are fatigued with ennui, obsessed with dystopia. Is it because many of us have lost our sense of wonder, our sense that anything is possible? Grounding us on our own planet, by necessity, limits the future of the human species and locks us into an inevitable end.
Certainly, let’s invest in our planet and take care of our only home. But it’s also true that our star will eventually expand and destroy us, even if we are clever enough not to destroy ourselves first. Seeing the end of one’s species, however likely, doesn’t inspire innovation, only despair, no matter how far out that future may be.
We must continually look past what is possible, and even what is probable, if we want to inspire the creation of a more hopeful and lasting future. We can never stop reaching for the stars.
Kameron Hurley is the author of the essay collection The Geek Feminist Revolution, as well as the award-winning God’s War Trilogy and The Worldbreaker Saga. Hurley has won the Hugo Award, Kitschy Award, and Sydney J. Bounds Award for Best Newcomer. She was also a finalist for the Arthur C. Clarke Award, the Nebula Award, and the Gemmell Morningstar Award. Her short fiction has appeared in Popular Science Magazine, Lightspeed Magazine, and many anthologies. Hurley has also written for The Atlantic, Entertainment Weekly, The Village Voice, Bitch Magazine, and Locus Magazine. She posts regularly at KameronHurley.com.
rss_rss_boingboing Пятница, 11 Февраля 2017 г. 03:06 (ссылка)
Earth’s climate functions as its life support system. That system is under heavy threat from over seven billion people and the bleeding heat of industry: as jungle and forest are rendered into farmland; greenhouse gases belch and fume, destabilizing the environment, shrinking biodiversity, pushing the limits of the Earth's natural mechanisms.
2016 was the hottest year in the modern temperature record. Climate change is a long-term issue on a massive scale – from shrinking glaciers, changes in rainfall patterns, severe heat waves and other irreversible conditions. The worldwide scientific community has issued warnings for years about the present and future impacts of climate change linked to fossil fuel use.
Earth faces unprecedented challenges caused by human agency, yet here we stand, like a deer in headlights, knowing something big and bad is coming, too dazzled to do anything to stop it.
Science fiction has long been the literature that speculates on scientific change while reflecting contemporary societal concerns.
Climate change is happening now, and we need a literature of now to address its issues. As glaciers melt, corals bleach, typhoons kill and forest fires rage, a new genre called climate fiction has emerged from science fiction to stand out on its own. Climate fiction focuses on anthropogenic climate change rather than natural unstoppable ecological catastrophes, such as supervolcanos, solar flares or large, Earth impacting meteorites. And most importantly, climate fiction uses real scientific data to translate climate change from the abstract to the cultural, enabling readers to vicariously experience threats and effects they might be expected to encounter across their own lifetimes.
Climate fiction highlights the hard-impacting economic and interpersonal realities of climate change. It encourages us to understand that climate change is a problem we have brought upon ourselves and that changes to our economic and energy systems are required if we are to survive it.
Climate fiction straddles genre boundaries: science fiction, utopia, dystopia, fantasy, thriller, romance, mimetic fiction, nature writing, and the literary, from fast-paced thrillers, to inward looking present day narratives.
Climate change is emerging as a set of philosophical and existentialist problems as well as physical challenges. It is yet to receive the crisis response and treatment it deserves from world leaders.
Fiction – and indeed all art -- has a role to play, by humanising the effects of climate change; by illuminating the human dimensions of technological futures; by encouraging people to challenge ingrained confirmation bias and become climate voters -- active on the issue, making their views known loudly to politicians.
Storytelling has the power to give climate change a human focus by translating complex and evolving scientific concepts into tales reimagining human interactions with the world. Non-didactic, people-centric narratives stressing the social aspects of climate change as much as the technical and scientific encourage societal long-term thinking about the power and potential of clean energy. Climate fiction’s growing popularity proves that we desire narratives showing how we might adapt to a changing world as ice melts and seas rise. Stories appealing to social ethics, questioning established hierarchies, and addressing our responsibility for fashioning an ecologically sustainable future.
The coming decades will see problems of increasing complexity, such as permanent political and social instability, dangerous weather, food and water insecurity, and an increase in displaced persons as more and more land is swallowed by the sea. Climate fiction tackles these topics, detailing the practical domestic implications of carbon rationing and renewable energy, and exploring how practical changes might be implemented across ordinary lives. Some climate fiction stories investigate nascent technologies and their integration into business and culture, questioning how far our growing dependence on technology might end up detrimentally estranging us from nature. The topics are wide ranging, and use topical, political and scientific bases, ensuring that while it feels like fiction, it is applicable to current events and daily life.
While much realist and literary fiction continues to focus inwards on individual identities and challenges, climate fiction takes on the task of envisioning physical and cultural landscapes facing uncertainty through processes of transformation and adaptation. Climate fiction forms a bridge connecting scientific information with people preparing to face an uncertain future the past can no longer be relied upon to guide us through.
Art possess inherent empathetic value. Entwined with technological and social change, climate fiction functions as a universally understandable language while serving as a catalyst for forging new trans-disciplinary alliances, shifting debates and values, inspiring and motivating legal and institutional action, opening hearts and minds to new ways of thinking, encouraging resilience, resistance and resolve while continuing to imagine possible futures.
More than anything, we must learn from these possible climate fiction futures, rooted in what we scientifically know today -- if we actually believe such futures might conceivably come to pass. Based on the science, those futures are closer than we think.
Cat Sparks, author of the upcoming novel Lotus Blue, available from Talos Press, an imprint of Skyhorse, in March 2017.
rss_rss_boingboing Четверг, 09 Февраля 2017 г. 18:29 (ссылка)
rss_rss_boingboing Вторник, 07 Февраля 2017 г. 20:18 (ссылка)
rss_rss_boingboing Воскресенье, 05 Февраля 2017 г. 19:26 (ссылка)
Welcome to Sci-Fi Sundays! I'm in my mid 30s and grew up steeped in science fiction. From as far back as I can remember, the books on my family bookshelf bore the names of Isaac Asimov, Ray Bradbury, Arthur C. Clarke, H.G Wells, and the like. The books seemed, to my immature eyes, like such odd and frustrating things. They had these enticing and rich illustrations on their covers, but inside, mostly only walls of text that I wouldn't learn to appreciate till my age hit double digits.
Occasionally I'd stumble upon something like Analog, and be delighted to find illustrations inside, sparse as they may be. Something about this experience left a permanent mark on me, and the illustrations of science fiction pulp has always seemed somewhat magical. It isn't usually the highest quality art work, but it was always something new and interesting, either some imaginary creature or piece of machinery.
About 10 years ago, I was given a treasure; boxes and boxes of science fiction pulp. I have tons of Analog, some Perry Rhodan, Worlds of If, Galaxy, and a few others with publication dates ranging from the late 50s through the 80s. While each issue should, in my opinion, be scanned page by page and preserved forever, I'm only setting out to do so with the illustrations. In this series, I'll scan an issue (or two or 3 if they only have cover art), and share the illustrations with you. Sadly, I can't share the musty smell of the pages, but I may share some of my observations and thoughts on the issue, and I'd love to hear yours.
Let's kick this off with the above issue:
Publication:Analog: Science Fiction Science Fact
Issue: February 1970, volume: LXXXIV No. 6
Cover art: Kelly Freas
The February 1970 issue of Analog seems almost like a bizarre amalgam of modern pop culture items; Is that a Viper probe droid from Star Wars? Is that bird man riding on Nessie? Illustrated by Kelly Freas (you'll see that name a LOT during the 70s), the cover illustration goes to the novelette Birthright, by Poul Anderson. As with anything more than just a few years old, it is fun to look at the cost of the issue, only 60 cents.
Like most issues of Analog, this one is packed with illustrations, many by Kelly Freas. The styles swing wildly from minimalist scratchings to what appear to be painted works.
This issue has a section in the middle that describes how solar wind works. Remember, this is Analog Science Fiction / Science Fact. There are a couple diagrams, but nothing exciting, and I've opted not to scan them.
All illustrations from this issue are included below, along with credit to the illustrator, and the story they are associated with.
[caption id="attachment_507729" align="aligncenter" width="600"] Kelly Freas From Birthright[/caption]
This is easily my favorite illustration in this issue. The style of the spaceman's helmet and suit are just wonderful. His air tank almost seems Dr. Seussian![caption id="attachment_505316" align="aligncenter" width="600"] Peter Skirka from Dali, For Instance[/caption]
I have no idea what is going on here. This is one of those illustrations where reading the story reveals the meaning of the illustration, but I'm not going to spoil it for you, that would make it boring.[caption id="attachment_505314" align="aligncenter" width="600"] Kelly Freas from Birthright[/caption]
One thing I always enjoy is when there are creatures shown that are both extremely alien, and also apparently intelligent. Take the character on the left for example, there are clothes, tools, etc. It makes me wonder what the rest of that creature's culture and civilization are like. Maybe I'll have to read this story![caption id="attachment_505317" align="aligncenter" width="600"] Kelly Freas from The Fifth Ace[/caption][caption id="attachment_505318" align="aligncenter" width="600"] Kelly Freas From The Fifth Ace[/caption][caption id="attachment_505319" align="aligncenter" width="600"] Kelly Freas from In Our Hands, The Stars[/caption]
Note that even though this is the same illustrator as the others, this story has a completely different art style. These appear to be paintings that were scanned in.[caption id="attachment_505320" align="aligncenter" width="300"] Kelly Freas In Our Hands The Stars[/caption][caption id="attachment_505321" align="aligncenter" width="600"] Leo Summers from The Biggest Oil Disaster[/caption]
[caption id="attachment_505322" align="aligncenter" width="600"] Leo Summers from The Biggest Oil Disaster[/caption]
The rear cover isn't an illustration, but sometimes it is fun to look at the advertisements as well.
knigalyb Пятница, 27 Января 2017 г. 13:05 (ссылка)
rss_rss_boingboing Четверг, 26 Января 2017 г. 15:37 (ссылка)
rss_rss_boingboing Вторник, 24 Января 2017 г. 05:21 (ссылка)
rss_rss_boingboing Пятница, 20 Января 2017 г. 10:01 (ссылка)
knigalyb Среда, 18 Января 2017 г. 07:32 (ссылка)
Ссылки: на главную|почта|знакомства|одноклассники|фото|открытки|тесты|чат
О проекте: помощь|контакты|разместить рекламу|версия для pda