In the third episode, Wu talks to Margaret Atwood, author of science-flavored dystopian fiction like Oryx and Crake and The Year of the Flood. In 2012, she published In Other Worlds: SF and the Human Imagination, in which she explored science fiction as an author and as a reader.
Tagged with “sci-fi” (113)
Science fiction author Charles Stross http://www.antipope.org/charlie/ is most known for his near-future lovecraft-inspired "Laundry-Files" series, the near-future and more IT centric "Halting State" series as well as his far-future "Saturns Children" android book series - not to forget his science-fiction / fantasy "Merchant Princess" books and other numerous publications.
When he attended DortCon http://www.dortcon.de/ (in Dortmund, Germany, hence its name) this year, he of course was the natural prey for us - so I asked for an interview. How does he manage those multiple universes, how does he cope with the special problems of looking into the near future…
Futures is Nature’s weekly science fiction slot. Adam Rutherford reads you his favourite from this month, Survivors and Saviours, by Philip T. Starks.
William Gibson is the author of ten books, including, most recently, the New York Times-bestselling trilogy Zero History, Spook Country and Pattern Recognition. Gibson’s 1984 debut novel, Neuromancer, was the first novel to win the three top science fiction prizes—the Hugo Award, the Nebula Award, and the Philip K. Dick Memorial Award. Gibson is credited with coining the term “cyberspace” in his short story “Burning Chrome,” and with popularizing the concept of the Internet while it was still largely unknown. He is also a co-author of the novel The Difference Engine, written with Bruce Sterling.
In his new novel 2312, legendary science fiction author Kim Stanley Robinson focuses on outer space and humans’ place in it.
As you probably guessed from the title, the story is set three centuries in the future. It hinges on “the idea that the solar system is our neighborhood, and could be inhabited,” Robinson tells Wired Senior Editor Adam Rogers in this episode of the Storyboard podcast.
In the book, which hits stores May 22, humans live not just on other planets, but also in miniature biomes in hollowed-out asteroids. Robinson’s oeuvre includes the Hugo-winning Mars trilogy and the global warming-focused Forty Signs of Rain. In the podcast, he talks about time travel, trips to Antarctica and the future of humanity.
I work with an amazing team of creative people across many disciplines and because it’s video games many of these people are younger than me and one of the things I’ve noticed about people in their 20s right now is that they don’t have all the bullshit cultural baggage that the Baby Boomers and their kids (my generation) carried around. 2001: A Space Odyssey is famous for being impenetrable and a lot of people my age have this “screw that movie” attitude. they resent being challenged, reset the respect the movie gets. Something to do with entitlement, I think.
But the guys I work with, younger guys, their attitude is “that movie was weird, what was going on?” They know something’s going on, they don’t mind saying “I didn’t get it” and they’re curious. I love that. No cultural baggage, no chip on their shoulder. Open curiosity. Intellectual curiosity, artistic curiosity.
One day someone asks me if I’ve seen 2001 and then, when I said I had, they didn’t say “did you like it?” They went straight to “what was that movie about? What was the Monolith? Why did HAL kill that guy?” and as I gave what I thought were my answers, this amazing dialog between me and a bunch of artists opened up and we all came away having noticed things and thought about things we hadn’t before.
So I figured, hey, why not write it all down. But that was boring. What was fun was talking about it. So I decided to do a podcast of sorts. I started by writing, I’m a writer, but after a couple of paragraphs I said “this is stupid.” It lacked the spontaneity of the original conversation so I just turned the mike on and started talking. That was surprisingly easy and this is the result.
Maybe someone will get a kick out of it, maybe someone will take it and do something interesting with it, put their own images to it, whatever. If there’s a positive response, maybe I’ll do more of these!
David Padron is a cinematics producer, I am a writer/designer, both of us in video games. We talk a lot about movies and culture and games before jumping into a game of League of Legends or Starcraft 2 or Diablo 3 or whatever.
This week, we talk a lot about Ridley Scott’s most science-fictional movie, Prometheus.
Make It So: Interaction Design Lessons from Science Fiction with Nathan Shedroff & Chris Noessel » UIE Brain Sparks
Science fiction films often take liberties with the technology that they display. After all, it is fiction. Though they can make up essentially whatever they want, technologies still need to be somewhat realistic to the audience. This influences the way that sci-fi technology is presented in film, but in turn, it’s how sci-fi influences technological advances in the real world.
Nathan Shedroff, Chair of the MBA in Design Strategy Program at California College of the Arts, and Chris Noessel, Managing Director at Cooper, took it upon themselves to study the lessons that can be learned from science fiction. They analyzed a variety of interfaces from all different time periods of film and television. They discovered that when new technologies are developed and released to the market, people already have expectations of how it should work. This is based upon having already seen a similar, fictional technology.
Of course, there are instances where the technology in film is all but an impossibility, or at least impractical in real life. This changes as gestural and voice recognition technologies become more advanced, but a lot of interfaces in sci-fi are developed simply for the “cool” factor. Even then, looking to these interfaces as a reference point can help focus a design.
Nathan and Chris join Jared Spool to discuss their Rosenfeld Media book, Make It So: Interaction Design Lessons from Science Fiction in this podcast.
As the latest novel in the Culture series hits the bookshops, we look at the third of Iain M Banks’s best-selling SF novels, The Use of Weapons. Known for writing in two separate strands – science fiction and literary novels – Banks explains how the two inspired each other, with the Culture emerging from his work on the first draft of his debut novel, The Wasp Factory.
He also explains the role that a misunderstanding of structuralism played in the construction of his fictional multiverse, and reveals that the dual chronology he uses in the novel was not in fact his idea at all …
Join Joshua Topolsky, Laura June and special guest Lev Grossman as they discuss Philip K. Dick’s classic novel
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