First Contact the Newsletter of the Irish Science Fiction Association
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Combo Stories V3i1
Electric Spec Special Feature Smith Interview with Robert J. Sawyer By Lesley L. Smith What is unique about written fiction as compared to other entertainment? Prose fiction is the only form that actually gets you into the head of another character. Through the use of limited point-of-view – either first- or third-person – the reader becomes a character in the story, seeing only what that character sees, feeling only what that character feels, knowing only what that character knows. It creates identification, not just in the literary but also the psychological sense. Watching as a spectator on the sidelines, as one does when viewing a movie or a TV show, is an impoverished experience compared to actually becoming the viewpoint character – that's why prose text endures, and always will endure. Do authors have an obligation to help spread understanding of diverse peoples? Was this issue on your mind when you wrote the Neanderthal Parallax (Hominids, Humans, and Hybrids)? Authors have no obligation whatsoever; no member of the audience has a right to impose any agenda on an artist of any kind. That said, I choose to celebrate diversity and multiculturalism in my work; I'm very proud to have been nominated twice for the Spectrum Award, which honors positive portrayals of gays and lesbians in SF, and I was thrilled to see a website on the depiction of religious people in SF name my character Sarkhar Muhammed from The Terminal Experiment as the most realistic Islamic character in SF. But the issue at the heart of the Neanderthal Parallax is something different, and I tip my hand right up front with the opening epigram, which is from a nonfiction book called Demonic Males: Apes and the Origins of Human Violence. -
PRESS RELEASE Breaking News from SFWRITER.COM Robert J
PRESS RELEASE Breaking News from SFWRITER.COM Robert J. Sawyer Wins World’s Top Juried Prize for Science Fiction Robert J. Sawyer, 46, of Toronto, has just won the world’s top juried award for science fiction: the John W. Campbell Memorial Award for Best Novel of the Year. The award, which Sawyer won for his latest novel, Mindscan, was presented Friday night, July 7, 2006, at a banquet at the J. Wayne and Elsie M. Gunn Center for the Study of Science Fiction at the University of Kansas. With this award win—his 38th for his fiction—Robert J. Sawyer now joins the most- select club in all of science fiction: the seven writers who have won all three of the field’s top awards for best novel of the year: • the World Science Fiction Society’s Hugo Award, which he won in 2003 for his novel Hominids; • the Science Fiction and Fantasy Writers of America’s Nebula Award, which he won in 1996 for his novel The Terminal Experiment; • and the John W. Campbell Memorial Award, which he has now won for Mindscan. (The full list of winners of all three awards: David Brin, Arthur C. Clarke, Joe Haldeman, Frederik Pohl, Kim Stanley Robinson, Robert J. Sawyer, and Connie Willis; Sawyer is the only Canadian to win all three.) The John W. Campbell Memorial Award was created to honor the late editor of Astounding Science Fiction magazine (renamed Analog Science Fiction and Fact in 1960). Campbell, who edited the magazine from 1937 until his death in 1971, is often called the father of modern science fiction. -
The Drink Tank 252 the Hugo Award for Best Novel
The Drink Tank 252 The Hugo Award for Best Novel [email protected] Rob Shields (http://robshields.deviantart.com/ This is an issue that James thought of us doing Contents and I have to say that I thought it was a great idea large- Page 2 - Best Novel Winners: The Good, The ly because I had such a good time with the Clarkes is- Bad & The Ugly by Chris Garcia sue. The Hugo for Best Novel is what I’ve always called Page 5 - A Quick Look Back by James Bacon The Main Event. It’s the one that people care about, Page 8 - The Forgotten: 2010 by Chris Garcia though I always tend to look at Best Fanzine as the one Page - 10 Lists and Lists for 2009 by James Bacon I always hold closest to my heart. The Best Novel nomi- Page 13 - Joe Major Ranks the Shortlist nees tend to be where the biggest arguments happen, Page 14 - The 2010 Best Novel Shortlist by James Bacon possibly because Novels are the ones that require the biggest donation of your time to experience. There’s This Year’s Nominees Considered nothing worse than spending hours and hours reading a novel and then have it turn out to be pure crap. The Wake by Robert J. Sawyer flip-side is pretty awesome, when by just giving a bit of Page 16 - Blogging the Hugos: Wake by Paul Kincaid your time, you get an amazing story that moves you Page 17 - reviewed by Russ Allbery and brings you such amazing enjoyment. -
SCIENCE FICTION SCIENCETHE INTERDISCIPLINARY FICTION GENRE a Conference in Honour of Robert J
McMASTER UNIVERSITY PRESENTS McMASTER UNIVERSITY PRESENTS SCIENCE FICTION SCIENCETHE INTERDISCIPLINARY FICTION GENRE a conference in honour of Robert J. Sawyer’s THE INTERDISCIPLINARYarchival donation to the University Library Collections GENRE a conference within honour special guests:of Robert J. Sawyer’s archivalROBERT donation J. SAWYER to the UniversityJOHN ROBERT Library COLOMBO Collections JULIE E. CZERNEDAwith specialDAVID guests: G. HARTWELL ROBERTÉLISABETH J. VONARBURGSAWYER JOHNROBERT ROBERT CHARLES COLOMBO WILSON and CHRIS SZEGO JULIE E. CZERNEDA DAVID G. HARTWELL SEPTEMBER 13 – 15, 2013 ÉLISABETH VONARBURG ROBERT CHARLES WILSON sponsored by McMASTER UNIVERSITY LIBRARY,and CHRIS SZEGO the OFFICE of ADVANCEMENT, and the FACULTY of HUMANITIES SEPTEMBER 13 – 15, 2013 sponsored by McMASTER UNIVERSITY LIBRARY, the OFFICE of ADVANCEMENT, and the FACULTY of HUMANITIES Science Fiction: The Interdisciplinary Genre An international conference featuring Robert J. Sawyer September 13-15, 2013 FRIDAY, SEPTEMBER 13 Time Event Location 7:00 - 9:00pm Reception courtesy of Mills Memorial Library Faculty Club and the Office of University Advancement Dining Room • Welcome by Ken Cruikshank, Acting Dean, Faculty of Humanities • Presentation of the Sawyer Archive by Vivian Lewis, University Librarian • Inaugural address by Robert J. Sawyer • Thanks from the conference organizers, Cathy Grise, Associate Professor, Department of English and Cultural Studies and Nicholas Serruys, Assistant Professor, Department of French SATURDAY, SEPTEMBER 14 Time -
Loscon 34 Program Book
LosconLoscon 3434 WelcomeWelcome to the LogbookLogbook of the “DIG”“DIG” LAX Marriott November 23 - 25, 2007 Robert J. Sawyer Author Guest Theresa Mather Artist Guest Capt. David West Reynolds Fan Guest Dr. James Robinson Music Guest 1 2 Table of Contents Anime .................................. Pg 68 Kids’ Night Out ..................... Pg 63 Art Show .............................. Pg 66 Listening Lounge .................. Pg 71 Awards Masquerade .......................... Pg 59 Evans-Freehafer ................ Pg 56 Members List ................. Pg 75-79 Forry ................................. Pg 57 Office / Lost & Found .......... Pg 71 Rotsler .............................. Pg 58 Photography/Videotape Policies .... Pg 70 Autographs .......................... Pg 73 Programming Panels ....... Pg 38-47 Bios Regency Dancing .................. Pg 62 Author Guest of Honor .........Pg 8-11 Registration .......................... Pg 71 Artist Guest of Honor ........ Pg 12-13 Room Parties ........................ Pg 63 Music Guest of Honor ........ Pg 16-17 Security Fan Guest of Honor ................. Pg 14 Rules & Regulations ..... Pg 70,73 Program Guests ........... Pg 30-37 No Smoking Policy ............. Pg 73 Blood Drive ........................... Pg 53 Weapons Policy ........... Pg 70,73 Chair’s Message .................. Pg 4-5 Special Needs ....................... Pg 60 Children’s Programming ........ Pg 68 Special Stories Committee & Staff ............. Pg 6-7 Peking Man .................. Pg 18-22 Computer Lounge ............... -
Introduction: the Genre of the Non-Place: Science Fiction As Critical Theory 1. for Plato's “Allegory of the Cave,” See Th
Notes Introduction: The Genre of the Non-Place: Science Fiction as Critical Theory 1. For Plato’s “Allegory of the Cave,” see The Republic Book VII. 2. For a thorough analysis of science fiction’s origins, see Brian W. Aldiss and David Wingrove’s Trillion Year Spree: The History of Science Fiction (1986). 3. See William S. Burroughs’s Naked Lunch (1959), the Nova (Or Cut-Up) Trilogy (The Soft Machine [1961], The Ticket that Exploded [1962], and Nova Express [196 4]), The Wild Boys (1971), and the “Red Night” Trilogy (Cities of the Red Night [1981], The Place of Dead Roads [1983], and The Western Lands [1987]; Thomas Pynchon’s V (1963), Mason & Dixon (1997), and Against the Day (2006); John Barth’s Giles Goat-Boy; or, The Revised New Syllabus (1966); Don DeLillo’s White Noise (1985); Kathy Acker’s Don Quixote: Which Was a Dream (1986) and Empire of the Senseless (1988); Italo Calvino’s Cosmicomics (1965) or Invisible Cities (1972); David Foster Wallace’s Infinite Jest (1996); Mark Z. Danielewski’s House of Leaves (2000); and Jonathan Lethem’s The Fortress of Solitude (2003). 4. McHale derives this concept of “projecting worlds” from Thomas Pynchon’s The Crying of Lot 49 (1965). As Oedipa Maas begins to explore the potential existence of a secret mail system known as Tristero, she writes underneath the Tristero horn that she has copied off of a bathroom wall, “Shall I project a world?” (65). Here, Oedipa is contemplating the possible existence of an entire other pattern of reality of which she (and most of the world) remains unaware. -
Science Fiction Hall of Fame Chosen by the Members of the Science Fiction Writers of America
Edition der SF – The Science Fiction Writers of America / SFWA Recherche: Lutz Schridde für www.sfgh.de <Recherche mit http://www.chpr.at , http://en.wikipedia.org , http://contento.best.vwh.net , http://www.locusmag.com , http://www.locusmag.com/SFAwards/Db/Nebula.html und eigener Bibliothek> The Science Fiction Hall of Fame chosen by the members of The Science Fiction Writers of America Robert Silverberg (Ed.) - Science Fiction Hall of Fame 1 (USA 1970, 2003) Ben Bova (Ed.) - Science Fiction Hall of Fame, Bd. 2A (USA 1973, 2005) Ben Bova (Ed.) - Science Fiction Hall of Fame, Bd. 2B (USA 1973) Zusammenfassung: (Formuliert für Volltext-Suchmaschinen) Dieses Memo zur den ersten Anthologien Science Fiction Hall of Fame 1, 2A und 2B zeigt die Präsenz der bewerteten Geschichten in deutschen Ausgaben an. Nur die Geschichte des Initiators des 1965 gegründeten Schriftstellerverbandes Science Fiction Writers of America SFWA wurde nicht in deutscher Übersetzung gefunden. Die Geschichten kennzeichnen das Qualitätsverständnis der SFWA. Dieses Verständnis von professioneller Qualität wird durch Platzierung der Geschichten in weiteren Anthologien bestätigt. Es setzte sich innerhalb des SFWA bis heute durch die Vergabe des Nebula Award fort. Der erste Herausgeber Robert Silverberg vertieft alsbald grundsätzliche Kritik am Genre, sonst bisher besonders vertreten durch Samuel Delany und Barry N. Malzberg, weitere folgen. Es zeigt sich nebenbei ein loses Subgenre von Science Fiction der Science Fiction, teils mit Selbstanwendungen gewohnter Metaphern, das die Nerven des Genres bloßlegt. Auch eine interne Genre-Satire zeigt sich, z. B. 1949 mit What mad universe von Frederic Brown und 1969-1973 mit den Autoren-Parodien des Amerikaners und Wahl-Engländers John T. -
Programming Participants' Guide and Biographies
Programming Participants’ Guide and Biographies Compliments of the Conference Cassette Company The official audio recorders of Chicon 2000 Audio cassettes available for sale on site and post convention. Conference Cassette Company George Williams Phone: (410) 643-4190 310 Love Point Road, Suite 101 Stevensville MD 21666 Chicon. 2000 Programming Participant's Guide Table of Contents A Letter from the Chairman Programming Director's Welcome................................................... 1 By Tom Veal A Letter from the Chairman.............................................................1 Before the Internet, there was television. Before The Importance of Programming to a Convention........................... 2 television, there were movies. Before movies, there Workicon Programming - Then and Now........................................3 were printed books. Before printed books, there were The Minicon Moderator Tip Sheet................................................... 5 manuscripts. Before manuscripts, there were tablets. A Neo-Pro's Guide to Fandom and Con-dom.................................. 9 Before tablets, there was talking. Each technique Chicon Programming Managers..................................................... 15 improved on its successor. Yet now, six thousand years Program Participants' Biographies................................................... 16 after this progression began, we humans do most of our teaching and learning through the earliest method: unadorned, unmediated speech. Programming Director’s Welcome -
Sean Leonard4
MIT Japan Program Working Paper 04.02 Progress Against the Law: Fan Distribution, Copyright, and the Explosive Growth of Japanese Animation Sean Leonard Massachusetts Institute of Technology Abstract The medium of Japanese animation is a powerhouse in the world of alternative entertainment. Proselytization by fans ignited the anime movement in America, despite Japanese copyright holders’ abandonment of the American market. The author presents an historical and legal analysis to demonstrate that, at least in one case spanning two decades, fans’ continual infringement of copyright spurred the progress of commerce and the arts. 1 MIT Japan Program Working Paper Series 04.02 Center for International Studies Massachusetts Institute of Technology Room E38-7th Floor Cambridge, MA 02139 Phone: 617-252-1483 Fax: 617-258-7432 Date of Publication: November 2, 2004 © Sean Leonard 2 Table of Contents 1. Introduction 7 2. Anime and Its Fandom: A Primer for Non-Fans 9 2.1. Anime 9 2.2. Fan Distribution 10 2.3. Fansub 10 3. Historical Analysis of Fan Distribution and Subtitling 12 3.1. Pre-Fan Period 12 3.2. Technology Change; Cartoon/Fantasy Organization 13 3.3. Japanese Enter and Abandon the Market 16 3.4. Fan Activity Increases 19 3.5. Anime Importers Fail to Release Quality Material 23 3.5.1. The Robotech Exception and the Second Wave 25 3.6. C/FO at Its Height; C/FO in Japan 27 3.7. C/FO Fan Distribution 29 3.7.1. Fan Networks as Proselytization Commons 32 3.8. Birth of Fansubbing; Collapse of C/FO 33 3.9. -
Scanlators As Produsers
Scanlators As Produsers Fan Participatory Practices Online: Free And Affective Manga Produsage And Distribution Master’s Thesis submitted to the Department of Informatics and Media, Uppsala University, May 2013, for obtaining the Master’s Degree of Social Science in the field of Media and Communication Studies. Candidate: Stéphanie Ratti Supervisor: Christian Christensen 1 Abstract Web 2.0 and the new decentralized, many-to-many technosocial tools empower consumers and users to reproduce, and distribute content on their own and without permission, shifting the boundaries of participation. Alternative collaborative communities that produce and distribute information, knowledge and culture without seeking profit or operating hierarchically challenge and/or correct commercial entities. This thesis deals with such a variety of collaborative community: the scanlation community. It explores, describes and explains what differences there are in the practices and understandings of scanlators, with a special focus on their attitudes towards legal ownership and profit motives. The main research question is: How do scanlators understand their cultural production, reproduction and distribution practices; with a special focus on which meanings do they ascribe to copyright infringement and the anti-profit motive? In particular, the study provides answers to the following questions: How do some become scanlators? What are the motives of the scanlators? How is scanlation organized? How is it managed? Which beliefs underpin it? Further impacts on and implications for the cultural industry of manga and the society at the level of politics, economy, and culture are taken into account and discussed. Bruns’ produsage based model of collaborative content production and usage is taken here as the main theoretical tool to analyze the participants, processes and principles of the scanlation community. -
Anime's Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and The
Manji 1 Anime’s Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and the Negotiation of Japanese War Memory A thesis Age submitted in fulfilment of the requirements for the Degree of Master of Arts in English in the University of Canterbury by Rufus C. Manji University of Canterbury 2020 Manji 2 Contents Table of Contents 1. Anime’s Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and the Negotiation of Japanese War Memory ........................................................................................ 1 1.1. Contents ........................................................................................................................ 2 1.2. Abstract ......................................................................................................................... 4 1.3. Acknowledgements ....................................................................................................... 6 2. Introduction .............................................................................................................. 7 3. Chapter 1: Superflat, Subculture, and National Trauma .........................................13 3.1. Takashi Murakami and superflat ................................................................................. 14 3.1.1. A genealogy of superflat subculture ........................................................................................ 20 3.1.2. Framing JNP: Japan’s Postmodern Condition ....................................................................... 32 3.1.3. The Database & Animalisation -
Anime's Atomic Legacy: Takashi Murakami, Miyazaki
Manji 1 Anime’s Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and the Negotiation of Japanese War Memory A thesis Age submitted in fulfilment of the requirements for the Degree of Master of Arts in English in the University of Canterbury by Rufus C. Manji University of Canterbury 2020 Manji 2 Contents Table of Contents 1. Anime’s Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and the Negotiation of Japanese War Memory ........................................................................................ 1 1.1. Contents ........................................................................................................................ 2 1.2. Abstract ......................................................................................................................... 4 1.3. Acknowledgements ....................................................................................................... 6 2. Introduction .............................................................................................................. 7 3. Chapter 1: Superflat, Subculture, and National Trauma .........................................13 3.1. Takashi Murakami and superflat ................................................................................. 14 3.1.1. A genealogy of superflat subculture ........................................................................................ 20 3.1.2. Framing JNP: Japan’s Postmodern Condition ....................................................................... 32 3.1.3. The Database & Animalisation