Most of these dystopian scenarios are, after all, post-apocalyptic: the bad thing happened, the tension broke, and now so much less is at stake. The anxiety and ambivalence we feel toward late-stage capitalism, income inequality, political corruption, and environmental degradation—acute psychological pandemics in the here and now—are utterly dissolved. In a strange, wicked way, the aftermath feels fine.
A 1983 article from 73 Magazine on the surprisingly plausible Rube Goldberg/Heath Robinson device created by E.T. to call home.
As always with sci-fi interfaces, the important part is telling the story, not realism or accuracy. Personally, I liked the way that the World War II trappings of Rogue One extended to communications and networking technologies.
Ten years on from Afonso Cuarón’s masterpiece.
Reviews of twentieth century science fiction novels and anthologies by women writers.
A lovely piece of design fiction imagining a project where asteroids are shaped and polished into just the right configuration to form part of an enormous solar-system wide optical telescope.
Once they are deployed in space, a celestial spiderweb of crisscrossed laser beams can push around clouds of those microscopic optical sensors to desired locations.
Compare and contrast Alien, Starship Troopers, and The Thing with 2001 and Roadside Picnic (and I would throw Solaris into the mix).
Plugging in a monster moves a plot right along, of course, but if that’s all it’s doing, the plot is neglecting to examine how a real biosphere would work. That would be a sensationally complex task, but given the amount of research now going on in astrobiology and exoplanetary science, the suspicion here is that experts could be summoned who could produce such a film. Even so, there is something to be said for not seeing aliens.
This article examines what I thought was the most interesting aspect of Rogue One—the ethical implications for technologists.
Don’t dismiss this essay just because it’s about a Hollywood blockbuster. Given the current political situation, this is deeply relevant.
A profile of Stanisław Lem and his work, much of which is still untranslated.
Interviews with the designers who make on-screen interfaces for sci-fi films.
Sci-fi book covers and posters from the 1970s.
I thoroughly enjoyed playing this game. On the face of it, it seems like little more than a cow-clicker, but the way that the plot and the gameplay unfolds is really delightful.
This feels like the kind of game that would only work on the web—keep it in a browser tab in the background, revisiting occasionally throughout the day.
A cautionary tale of digital preservation.
.generation is a short film that intimately documents three millennials in the year 2054 - uncovering their relationships with technology in the aftermath of the information age.
I’ve seen letterforms you people wouldn’t believe…
Absolutely brilliant stuff from Mandy (again). A long hard at today’s tech industry’s narrow approach to bots and artificial intelligence compared to some far more interesting and imaginative approaches in fiction:
- Ann Leckie’s superb Imperial Radch series,
- Kim Stanley Robinson’s Aurora, and
- Alex Garland’s Ex Machina.
So in addition to frightening ramifications for privacy and information discovery, they also reinforce gendered stereotypes about women as servants. The neutral politeness that infects them all furthers that convention: women should be utilitarian, performing their duties on command without fuss or flourish. This is a vile, harmful, and dreadfully boring fantasy; not the least because there is so much extraordinary art around AI that both deconstructs and subverts these stereotypes. It takes a massive failure of imagination to commit yourself to building an artificial intelligence and then name it “Amy.”
Discover exotic places with local hosts in a galaxy far, far away.
The act of linking to this story is making it true.
“I don’t think there’s any law against this,” I said. How could there be a law against something that’s not possible?