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Science Fictional the Aesthetics of Science Fiction Beyond the Limits of Genre

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Science Fictional the Aesthetics of Science Fiction Beyond the Limits of Genre Science Fictional The Aesthetics of Science Fiction Beyond the Limits of Genre Andrew Frost University of NSW | College of Fine Arts PhD Media Arts 2013 4 PLEASE TYPE Tl<E UNIVERSITY OF NEW SOUTH WALES Tht:tltiDittorUdon Sht•t Surname or Fenily name: Frost FIRI neme; Andrew OCher namels: Abbr&Yia~lon fof" dcgrco as given in the Unlverslty caltn<S:ar. PhD tCOde: 1289) Sd'IOOI; Seh.ool Of Media Arts Faculty; Coll999 of A ne Am Title: Science Fletfonar.: The AestheUes or SF Beyond the Limit:t of Gcnt'O. Abstract 350 words maximum: (PLEASE TYPE) ScMtnce Flcdonal: The Anthetics of SF Beyond the Umlts of Genre proposes that oonte~my eufture 1$ * $pallal e)Cl>ertence dom1nS'ed by an aesane(IC or science liction and its qua,;.genefic form, the ·$dence ficdonal', The study explores the connective lines between cultural objects suet! as film, video art. painting, illustration, advertising, music, and children's television in a variety ofmediums and media coupled with research that conflates aspects of ctitical theory, art history a nd cuttural studies into a unique d iscourse. The study argues thai three types of C\lltural e ffeets ­ reverberation. densi'ly and resonanoe- affect cultural space altering ood changing the 1ntel'l)totation and influeooe of a cuUural object Through an account of the nature of the science fictional, this thesis argues that science fiction as wo uncJersland It, a.nd how 11 has beon oooventionally concefved, is in fact the counter of its apparent function within wider culture. While terms such as ·genre~ and ·maln-stream• suggest a binary of oentre and periphery, this lh-&&is demonstrates that the quasi-generic is in fact the dominant partner in the process of cultural production, Ocelamlon ,.~ lo disposition or projoct thnlsJdtuen.tlon I htrOby grltlt t<> I~ Ul'll\IOI'IiiY Of Now SOUIJ'I WaltS or i&& agents the rlg:tlllo ard'llve anct to INike available my ttwrsl9 or di$sertabon '" whole or in 1»Jt il'lllle \Jtlivetsay lbrsrles., at IOtmS Of tnedb, rtOW or hero <~~Ot kncwn, 5tAijod:.lo lho Jl«Mdonll ol lho Co9yrlghlt Act 1968. 1retain ell property rights, such as p31en1 ~hts.. lalsG Allain the tight 10 usc~ Muro worts {weh as ~rtldc$ Ot OO<>k$) a l ot pan of th4 tlletl:s or cfiuertatlon. lako aulhOriselMiveiSdy Miefo&t'ns to 11M the 350 word abslrad of my ll\t>sis in Oisseltallon AbW&Cis tl'ltlernalion.at (th~ IS OQPiic::Ah1o tQdocloraJ ltleses only), f\. ,..-~ .......... ,.yd~d;. ....................... ......................... ~.. ......... - ·· ·' · ~. .l ... ~ . J ...t.J. .............. .. Date The University recognllel that li'Wire m:.y be •xoopcloNI ~·~~~ ttquiti()Q tt$lJ1Cliont ot1 OO~Q «condition~ on tJ&e Reqi.Niets for re-!otl1c:tton lor a I*IOd of~ to 2 yeara mu~ be macto In writing. Requests f« a- IOc'IQel period of testfic:tion m:.y be oonside~ ~ cxwp(lonal meum~ and ttc~uife lhll ~_oval or lhe 0ttnn o1 r~d~e RM(I.lrc-.h. FOR OFFICE USE ONLV Dale ol completion of reQUirements for Award: ntiS SHEET IS TO BE GLUED TO THE WSIOE FRONT COVER OF THE THESfS ORIGINAUTY STATEMENT 'I he<eby declare that !his submission Is my own W0<1( and to !he best of my l<nowtedge ~ eontam no materials p.....nou.ty published 0< W!\llen by another peqon, or sub61Bnlial propc<ticos of material wllich have been acceptod lor the award of any othe< degree or diploma at UNSW or any other edueatlonallnsmution, except where due acknowledgement is made In the thosis. Any contribution made to the research by others, with whom I have W0<1(ed at UNSW or elsewhere, Is expllally acknowledged on the thesis. I also dedate thai !he inlelledual content of !his thesis is the pnoduct of my own we<1<. exoept to the extent that asslstance from others in the proj&Cfs design and conception or in style, presentation and linguistic expraasion is acknowledged.' Signed .. ...... fh-.1~ b ..t.. .... ............. ....... Date ........................1 .~. 1.. ~1 1. ~.... ......................... .. COPYRIGHT STATEMENT 'I hereby grant !he University of New South Wales or »s agents the right to archive and to make available my thesis or diaseflallon in whole or part in tho UniYersity ~b<aries "' el forms ol med•e. now or he<e after known, oubjed to !he prDVIIIono of the Copynght ArJ. 1968. 1 retain all proprielaly rights, such as patent rights. 1 also retain the right to uso In future wO<l<s (such as articles or bool<s) all or part of this thesis or dissertation. I also authorise University Microlilms to use the 350 word abstract ol my thesis in Dlsse<tation AbstYacllntemational (tnis is applicable to doctoral theses only). I have enher used no subslantial pol1iono of oopynght material in my lhesls or I have obtained permlulon to use oopyright material: where permission has not been granted I have applied/will apply for a partial restriction of the dig~l oopy of my thesis or dissertation: Signed ............... ~J~ . ~ .t............................. Date .............................. ~.~. L.~ ./ ..\:! .... ............................... AUTHENTICITY STATEMENT 'I certify that !he l.lbraty depe$it dig~l copy is a direct eq<Waleflt of the final officialy IPP<oved Ye1Sion of my lh8siL No emendation of content has occurred and W there are any mu>Dr variations In formatting. they are the reoull of the conversion to digital format.' Signed .................~J.':-k:':J .. ..&.t.. ..... .................... .. Date . .... .... ................ ..1 . ~ . 1.. ~ .. .1.\.L ......................... 3 For Lily Frost. “We are all interested in the future, for that is where you and I are going to spend the rest of our lives.” - Criswell, Plan 9 From Outer Space [1959]. 5 Contents Note on Usage & Images 7 List of Illustrations 8 Introduction 14 Defining Science Fiction 22 Reverberation 49 Density 68 Resonance 95 Studio Project 209 Conclusion 229 Works Cited 233 Bibliography 258 6 Notes on Usage & Image Details The term “science fiction” is used to denote a wide field of cultural production that includes literature and film. It is commonly contracted to “SF”. This study alternates between both usages for the sake of readability, particularly when used in the same paragraph or sentence. Much debate surrounds science fiction as a genre fiction, and its often-troubled relationship to “mainstream” literature. As a means to denote a difference between science fiction literature and science fiction film the term “literary SF” is used when discussing published print works. Many paintings produced by science fiction illustrators, particularly those painted before 1960, have been lost and survive only in reproduction. Where details such as medium, dimension and collection are known, these are cited in image captions; where they are not, known details are included. Images taken from advertising, film, TV programs or online sources are cited using standard MLA conventions where details are known. With Thanks Many thanks to my generous PhD supervisor Dr. Ross Harley, post graduate coordinator Dr. Petra Gemeinboeck, co-supervisor John Gilles, the ever helpful Karen Ryan and Kathy Yeh, the technical know-how of Dr. Alex Davies, and two sensible ladies, Kate Shea & Rachel Shea. 7 List of Illustrations Introduction & Defining Science Fiction Fig 1.1 Ward Shelley, The History of Science Fiction V.1, 2009. Oil colour and toner on Mylar, 137x76cm. Detail. Collection: The Artist. Fig 1.2 Superflex. Flooded McDonalds, 2008. RED video installation. 20 mins, looped. Collection: Gallery of Modern Art, Brisbane. Fig 1.3 Aernout Mik, Pulverous, 2003. Three-channel video installation, 23:27, looped. Collection: Gallery of Modern Art, Queensland. Fig 1.4 Mitra Tabrizian, City, London, 2008. Type C photograph, 122x250 cm. Collection: Queensland Art Gallery, Brisbane. Fig 1.5 Otolith Group, Anathema, 2011. Digital video. Fig 1.6 Anne Lislegaard, Crystal World (after J.G.Ballard), 2006. 2-channel 3D animation, 2 leaning screens, no sound. Density Fig 3.1 Ed Ruscha, Fountain of Crystal, 2009. Acrylic on canvas, 76x91cm. Collection: Gagosian Gallery, London. Fig 3.2 Adam McEwan, Honda Teen Facial, 2010. Boeing 747 undercarriage, approximately 350x300x182cm. Private Collection. Fig 3.3 J. G. Ballard, Project for A New Novel [detail], 1958. Fig 3.4 J.G Ballard. Venus Smiles, Advertisers Announcement #5, 1970. Magazine advertisement, various sizes. Fig 3.5 Florian Maier-Aichen, One Day at Spiral Jetty, 2009. Gelatin silver print, 24x30cm. Private collection. 8 Fig 3.6 Robert Smithson, Spiral Jetty, 1970. Mud, precipitated salt crystals, rocks, water, 457.2x4.57m. Dia Foundation. Fig 3.7 Tacita Dean. Rozel Point, Great Salt Lake, Utah, 1997, 1999. 35mm slide projector 35mm slide, variable dimensions. Collection: British Council. Fig 3.8 Powers of Ten. Dir. Charles & Ray Eames. IBM/Office of Charles & Ray Eames, 1977. Film. Resonance Fig. 4.1 2012. Dir. Roland Emmerich. Columbia Pictures/Centropolis Entertainment, 2009. Film. Fig. 4.2 THX 1138. Dir. George Lucas. American Zoetrope/Warner Bros. 1971. Film. Fig 4.3 Thomas Cole, The Course of Empire: Destruction, 1836. Oil on canvas, 130x193cm. Collection: New York Historical Society. Fig 4.4 John Martin, The Great Day of His Wrath, 1851. Oil on canvas, 196x303cm. Collection: Tate Britain. Fig 4.5 Barnett Newman, Third Station, 1960. Oil on canvas, 198x153cm. Collection: National Gallery of Art, Washington D.C. Fig 4.6 Barnett Newman, Fifth Station, 1962. Oil on canvas, 198x153cm. Collection: Robert & Jane Meyerhoff. Fig 4.7 Barnett Newman, The Ninth Station, 1964. Acrylic on canvas, 198x152cm. Collection: Robert & Jane Meyerhoff. Figs 4.8, 4.9. THX 1138. Dir. George Lucas. American Zoetrope/Warner Bros. 1971. Film. Figs 4.10, 4.11 The Matrix. Dir. Andy & Larry Wachowski. Village Roadshow Pictures/Warner Bros. 1999. Film. Fig 4.12 Hayden Fowler, Second Nature, 2008. Single channel, high definition digital video, 36:20, looped.
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