Sunday, January 6th, 2019
Thursday, December 6th, 2018
A deep dive into Pixar’s sci-fi masterpiece, featuring entertaining detours to communist propaganda and Disney theme parks.
Wednesday, November 21st, 2018
The terrific Hugo-winning short story about inequality, urban planning, and automation, written by Hao Jinfang and translated by Ken Liu (who translated The Three Body Problem series).
Hao Jinfang also wrote this essay about the story:
I’ve been troubled by inequality for a long time. When I majored in physics as an undergraduate, I once stared at the distribution curve for American household income that showed profound inequality, and tried to fit the data against black-body distribution or Maxwell–Boltzmann distribution. I wanted to know how such a curve came about, and whether it implied some kind of universality: something as natural as particle energy distribution functions, so natural it led to despair.
Tuesday, October 23rd, 2018
Saturday, September 22nd, 2018
Thursday, September 6th, 2018
Chris is putting his examination of interfaces in science fiction on pause while he examines a more pressing matter for today’s political climate—an examination of depictions of fascism in science fiction:
Sunday, August 5th, 2018
From Frederik Pohl’s 1966 novel:
The remote-access computer transponder called the “joymaker” is your most valuable single possession in your new life. If you can imagine a combination of telephone, credit card, alarm clock, pocket bar, reference library, and full-time secretary, you will have sketched some of the functions provided by your joymaker.
Essentially, it is a transponder connecting you with the central computing facilities of the city in which you reside on a shared-time, self-programming basis.
Thursday, July 12th, 2018
A near-future sci-fi short by Hannu Rajaniemi that’s right on the zeitgest money.
The app in her AR glasses showed the car icon crawling along the winding forest road. In a few minutes, it would reach the sharp right turn where the road met the lake. The turn was marked by a road sign she had carefully defaced the previous day, with tiny dabs of white paint. Nearly invisible to a human, they nevertheless fooled image recognition nets into classifying the sign as a tree.
Monday, July 9th, 2018
A collection of sci-fi short stories, featuring Becky Chambers and Madeline Ashby …and it’s free!
Wednesday, June 27th, 2018
Between the utopian and dystopian, which vision of the future seems more likely to you? Which vision seems more true to how we currently live with technology, in the form of our smartphones and social media apps?
Tuesday, June 26th, 2018
Prompted by his time at Clearleft’s AI gathering in Juvet, Chris has been delving deep into the stories we tell about artificial intelligence …and what stories are missing.
And here we are at the eponymous answer to the question that I first asked at Juvet around 7 months ago: What stories aren’t we telling ourselves about AI?
Sunday, June 3rd, 2018
This forthcoming documentary on Ursula K. Le Guin looks like it will be very good indeed.
Monday, May 28th, 2018
Thursday, May 17th, 2018
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.”
Tuesday, April 17th, 2018
Design fiction from the UK parliament. I mean, it’s not exactly a classic of speculative fiction, but it sure beats a white paper.
Friday, April 6th, 2018
2001 + 50
The first ten minutes of my talk at An Event Apart Seattle consisted of me geeking about science fiction. There was a point to it …I think. But I must admit it felt quite self-indulgent to ramble to a captive audience about some of my favourite works of speculative fiction.
The meta-narrative I was driving at was around the perils of prediction (and how that’s not really what science fiction is about). This is something that Arthur C. Clarke pointed out repeatedly, most famously in Hazards of Prophecy. Ironically, I used Clarke’s meisterwork of a collaboration with Stanley Kubrick as a rare example of a predictive piece of sci-fi with a good hit rate.
When I introduced 2001: A Space Odyssey in my talk, I mentioned that it was fifty years old (making it even more of a staggering achievement, considering that humans hadn’t even reached the moon at that point). What I didn’t realise at the time was that it was fifty years old to the day. The film was released in American cinemas on April 2nd, 1968; I was giving my talk on April 2nd, 2018.
Over on Wired.com, Stephen Wolfram has written about his own personal relationship with the film. It’s a wide-ranging piece, covering everything from the typography of 2001 (see also: Typeset In The Future) right through to the nature of intelligence and our place in the universe.
When it comes to the technology depicted on-screen, he makes the same point that I was driving at in my talk—that, despite some successful extrapolations, certain real-world advances were not only unpredicted, but perhaps unpredictable. The mobile phone; the collapse of the soviet union …these are real-world events that are conspicuous by their absence in other great works of sci-fi like William Gibson’s brilliant Neuromancer.
But in his Wired piece, Wolfram also points out some acts of prediction that were so accurate that we don’t even notice them.
Also interesting in 2001 is that the Picturephone is a push-button phone, with exactly the same numeric button layout as today (though without the * and # [“octothorp”]). Push-button phones actually already existed in 1968, although they were not yet widely deployed.
To use the Picturephone in 2001, one inserts a credit card. Credit cards had existed for a while even in 1968, though they were not terribly widely used. The idea of automatically reading credit cards (say, using a magnetic stripe) had actually been developed in 1960, but it didn’t become common until the 1980s.
I’ve watched 2001 many, many, many times and I’m always looking out for details of the world-building …but it never occurred to me that push-button numeric keypads or credit cards were examples of predictive extrapolation. As time goes on, more and more of these little touches will become unnoticeable and unremarkable.
On the space shuttle (or, perhaps better, space plane) the cabin looks very much like a modern airplane—which probably isn’t surprising, because things like Boeing 737s already existed in 1968. But in a correct (at least for now) modern touch, the seat backs have TVs—controlled, of course, by a row of buttons.
Now I want to watch 2001: A Space Odyssey again. If I’m really lucky, I might get to see a 70mm print in a cinema near me this year.
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.
Tuesday, April 3rd, 2018
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.
Thursday, March 1st, 2018
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.