This forthcoming documentary on Ursula K. Le Guin looks like it will be very good indeed.
Robin Sloan smushes the video game Fortnite Battle Royale together with Liu Cixin’s Three Body Problem trilogy and produces a perfect example of game theory, cooperation, and the prisoner’s dilemma.
Based on my experiments in the laboratory of Fortnite, I think Liu Cixin is wrong. Or at least, he’s not entirely right. Fortnite is more Dark Forest theory than not, and maybe that’s true of the universe, too. But sometimes, we have a lever against the vise of game theory, and in this case, it is a single bit of communication. I mean “bit” in the programmer’s sense: a flag with a designated meaning. Nothing more. My heart emote didn’t make Fortnite cuddly and collaborative, but it did allow me to communicate: “Hold up. Let’s do this a different way.”
Design fiction from the UK parliament. I mean, it’s not exactly a classic of speculative fiction, but it sure beats a white paper.
There was a time, circa 2009, when no home design story could do without a reference to Mad Men. There is a time, circa 2018, when no personal tech story should do without a Black Mirror reference.
Black Mirror Home. It’s all fun and games until the screaming starts.
When these products go haywire—as they inevitably do—the Black Mirror tweets won’t seem so funny, just as Mad Men curdled, eventually, from ha-ha how far we’ve come to, oh-no we haven’t come far enough.
Here are Torre’s notes on my talk at An Event Apart Seattle. (She’s been liveblogging all the talks.)
Here are Luke’s notes from the talk I just gave at An Event Apart in Seattle.
Gene Wolfe: A Science Fiction Legend on the Future-Altering Technologies We Forgot to Invent | The Polymath Project
We humans are not good at imagining the future. The future we see ends up looking a lot like the past with a few things tweaked or added on.
A collection of weird and wonderful design fiction.
This collection of “Souvenirs from the Future” envisions what the future looks like through the eyes of young and talented art, design and architecture students living in different parts of the world. Some are speculations on ideal tomorrows; others are projections and critiques on the present. Some reveal beautiful aesthetics, alternatives to the high tech; others bravely question critical issues around politics, religion or tradition.
A thoroughly entertaining talk by Andy looking at the past, present, and future of robots, AI, and automation.
Recipes inspired by The Left Hand Of Darkness.
I mostly stuck to Le Guin’s world-building rules for Winter, which were “no large meat-animals … and no mammalian products, milk, butter or cheese; the only high-protein, high-carbohydrate foods are the various kinds of eggs, fish, nuts and Hainish grains.” I did, however, add some hot-climate items found in Manhattan’s Chinatown for their space-age looks and good flavors (dragonfruit, pomelo, galangal, chilis, and kaffir limes).
Serve with hot beer.
As installation begins, it feels like a good time to revisit this twelve year old essay by Michael Chabon on The Clock Of The Long Now. It’s a remarkable piece of writing about our relationship to the very idea of The Future, and how that relationship has changed in just one lifetime.
Ten thousand years from now: can you imagine that day? Okay, but do you? Do you believe “the Future” is going to happen? If the Clock works the way that it’s supposed to do—if it lasts—do you believe there will be a human being around to witness, let alone mourn its passing, to appreciate its accomplishment, its faithfulness, its immense antiquity? What about five thousand years from now, or even five hundred? Can you extend the horizon of your expectations for our world, for our complex of civilizations and cultures, beyond the lifetime of your own children, of the next two or three generations? Can you even imagine the survival of the world beyond the present presidential administration?
A thoroughly enjoyable adventure game in your browser. You are the AI of a colony starship. Humanity’s future is in your hands.
The transcript of a talk by Charles Stross on the perils of prediction and the lessons of the past. It echoes Ted Chiang’s observation that runaway AIs are already here, and they’re called corporations.
History gives us the perspective to see what went wrong in the past, and to look for patterns, and check whether those patterns apply to the present and near future. And looking in particular at the history of the past 200-400 years—the age of increasingly rapid change—one glaringly obvious deviation from the norm of the preceding three thousand centuries—is the development of Artificial Intelligence, which happened no earlier than 1553 and no later than 1844.
I’m talking about the very old, very slow AIs we call corporations, of course.
An initiative by David Brin and the Arthur C. Clarke Center For Human Imagination at UC San Diego. You are confronted with a what-if scenario, and your task is to recall any works of speculative fiction that have covered it.
Accessing more than a hundred years of science fiction thought experiments, TASAT taps into a passionate, global community of writers, scholars, librarians, and fans. We aim to curate a reading list applicable to problems and possibilities of tomorrow.
Six excellent mini essays from Lauren Beukes, Kim Stanley Robinson, Ken Liu, Hannu Rajaniemi, Alastair Reynolds and Aliette de Bodard.
I particularly Kim Stanley Robinson’s thoughts on the function of science fiction:
Here’s how I think science fiction works aesthetically. It’s not prediction. It has, rather, a double action, like the lenses of 3D glasses. Through one lens, we make a serious attempt to portray a possible future. Through the other, we see our present metaphorically, in a kind of heroic simile that says, “It is as if our world is like this.” When these two visions merge, the artificial third dimension that pops into being is simply history. We see ourselves and our society and our planet “like giants plunged into the years”, as Marcel Proust put it. So really it’s the fourth dimension that leaps into view: deep time, and our place in it. Some readers can’t make that merger happen, so they don’t like science fiction; it shimmers irreally, it gives them a headache. But relax your eyes, and the results can be startling in their clarity.
Plague; zombie; nuclear …Anna’s got them all covered in her roundup of apocalyptic literature and games.
As a corollary to the idea of mundane sci-fi, Nick Foster proposes some rules for realistically mundane design fiction:
- The Future Mundane is filled with background talent.
- The Future Mundane is an accretive space.
- The Future Mundane is a partly broken space.
When I encounter everyday design in science fiction cinema, I get a chill of excitement. From Korben’s cigarettes in the Fifth Element, the parole officer in Elysium, and countless examples in Blade Runner, these pieces of design help us get a much better hold on our future than any holographic interface ever could. The future we design should understand this. The characters in our future will not necessarily need to save the world at every turn—most of them will simply live in it, quietly enjoying each day.
A nexus of hypermedia on all things Blade Runner, from links to Tumblr blogs to embedded screenplays, documentaries, and scanned images.
Visions, Ventures, Escape Velocities: A Collection of Space Futures – Center for Science and the Imagination
A collection of short stories and essays speculating on humanity’s future in the solar system. The digital versions are free to download.