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Book Review: Imaginary Numbers: an Anthology of Marvelous
rev-kasman.qxp 6/13/00 4:16 PM Page 775 Book Review Imaginary Numbers: An Anthology of Marvelous Mathematical Stories, Diversions, Poems, and Musings Reviewed by Alex Kasman Imaginary Numbers: An Anthology of examples of “mathe- Marvelous Mathematical Stories, Diversions, matical fiction”. Since Poems, and Musings the review appeared I William Frucht, editor have received several John Wiley & Sons new suggestions each ISBN 0-471-33244-5 week, and the list 1999, $27.95 cloth (http://math. cofc. edu/faculty/kasman/ In 1958 a collection of short stories and book MATHFICT/) has grown excerpts was published under the name Fantasia larger in a few months Mathematica. What tied these previously published than I ever thought it works of fiction together was that they all had would become. Many of something to do with mathematics. The editor of the works on this list, that book, Clifton Fadiman, later remarked, “I had like the movie Pi, were been storing away these wisps of mathematical so successful that it is thistledown in the untidy nest of my files, with hard to imagine that hardly any expectation that others might take plea- anyone with an interest in mathematics would not have noticed them. Oth- sure in them. But, to my surprise, and I believe also ers are so rare, like the books The Sinister Researches to the publisher’s, the little book assembled entirely of C. P. Ransom and The Curve of the Snowflake, that as a labor of love attracted not a vast audience, of it is difficult now to find any trace of them. -
Science-Fiction Srudies
INFORMATION TO USERS This manuscript has been repmôuced from the micrdilm master. UMI films the text difecüy from the original or copy submitted. mus, some thesis and dissertation copies are in typewnter face, while ofhen may be from any type of cornputer printer. The quality of this repfoâuction is dependent upon the quality of the copy submitted. Broken or indistind print, cdored or poor quality illustrations and photographs, print bleedttrrough, substandard margins, and imwr alignment can adversely aff&zt reprodudion. In the unlikely event tnat the author did not send UMI a cornplete manuscript and there are missing pages, these wïll be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e-g., maps, drawings, charb) are reproduced by sectiming the original, beginning at the upper bft-hand corner and cantinuing from left to right in eqwl seaiocis with small overlaps. Photographs included in the original manuscript have been reproduoed xerographicaliy in mis copy. Higher quality 6" x 9" bbck and mite photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI direcüy to order. Be11 8 Howell Information and Leaming 300 North Zeeb Road, Ann Arbor, MI 481064346 USA 800-521-0800 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct andlor slanted print. Pages were microfilmed as received. # This reproduction is the best copy available The Cyborg. Cyberspace. and Nonh herican Science Fiction Salvatore Proietti Department of English iht~GiI1University. Monneal July 1998 A Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfillment of the Requirements of the Degree of Doctor of Philosophy Q Salvatore Proietti, 1998 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. -
Notes for Postsingular, 5/25/2007
Rudy Rucker, Notes for Postsingular, 5/25/2007 Postsingular Writing Notes (My 17th Novel) July, 2005 - April, 2007 by Rudy Rucker Copyright © Rudy Rucker, 2007. Last update: May 25, 2007 Number of words: 143,311 (The novel itself is 89,500 words.) Log Here‘s a list of my literary activities while composing Postsingular. I‘ve indented and [bracketed] the things that don‘t have a direct connection with composing Postsingular. Notes document created July 16, 2005. Review: ―Stross‘s Accelerando,‖ Aug 1 - Sept 5, 2005. NYRSF. Part 1a: Story ―Chu and the Nants,‖ Sept 12 - 19, 2005. Asimov‟s (6/2006). Part 1b: Story ―Postsingular,‖ Sept 29 - Nov 15, 2005. Asimov‟s (9/2006). [Found story: ―Cobb Wakes Up,‖ Nov 26, 2005. Other (1/06)] [Story: ―Panpsychism Proved,‖ Nov 30 - Dec 5, 2005. Nature (1/06).] Essay, ―Panpsychism,‖ Dec 6 - 13, 2005. Edge Annual Question.(1/06). Story plans: ―Bixie and Chu‖ and ―The Big Pig Posse,‖ Dec 7 - 31, 2005. Decide to write Postsingular novel, Jan 2, 2006. Postsingular Proposal 1, Jan 17, 2006. Decide (temporarily) not to have ―Chu‖ and ―Postsingular‖ in novel, Feb 10, 2006. [Plan story anthology Mad Professor, Feb 11, 2006.] Postsingular Proposal 2 gets deal with Tor, Feb 22, 2006. Part 2: ―The Big Pig Posse‖, Dec 20, 2005 - March 9, 2006. [Story: ―Elves of the Subdimension‖ with Paul DiFilippo, Flurb, Aug 2006.] Decide to use ―Chu‖ and ―Postsingular‖ as Chapter 1. April 3, 2006. [Deal for Mad Professor anthology with Thunder‘s Mouth, April 24, 2006.] [Story: ―2+2=5‖ with Terry Bisson, April 25, 2006. -
The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk
arts Editorial The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk Takayuki Tatsumi Department of English, Keio University, Tokyo 108-8345, Japan; [email protected] Received: 19 March 2019; Accepted: 21 March 2019; Published: 25 March 2019 The genesis of cyberpunk criticism could well be dated to March 1987, when Stephen P. Brown inaugurated the first cyberpunk journal Science Fiction Eye together with his friend Daniel J. Steffan, with Paul DiFilippo, Elizabeth Hand, and myself as contributing editors. Of course, it is the impact of William Gibson’s multiple-award-winning Neuromancer in 1984, featuring the anti-hero Case’s adventures in what Gibson himself called “cyberspace,” that aroused popular interest in the new style of speculative fiction. This surge of interest led Gibson’s friend, writer Bruce Sterling, the editor of the legendary critical fanzine Cheap Truth, to serve as unofficial chairman of the brand-new movement. Thus, on 31 August 1985, the first cyberpunk panel took place at NASFiC (The North American Science Fiction Convention) in Austin, Texas, featuring writers in Sterling’s circle: John Shirley, Lewis Shiner, Pat Cadigan, Greg Bear, and Rudy Rucker. As I was studying American literature at the graduate school of Cornell University during the mid-1980s, I was fortunate enough to witness this historical moment. After the panel, Sterling said, “Our time has come!” Thus, from the spring of 1986, I decided to conduct a series of interviews with cyberpunk writers, part of which are now easily available in Patrick A. Smith’s edited Conversations with William Gibson (University Press of Mississippi 2014). -
Spaceland Notes
Rudy Rucker, Notes for Spaceland Spaceland Notes Notes written by Rudy Rucker for Spaceland (Tor Books, 2002). Copyright Rudy Rucker © 2002. I started writing Spaceland on August 24, 2000. These Spaceland Notes were last revised on July 16, 2001, when the final edit of Spaceland was mailed in. Document was put into PDF format on November 22, 2005. The Spaceland Notes are 37,000 words long. Writing Journal ....................................................................................................... 4 January 7, 2000. Preliminary Plans for my Next Novel. .................................... 4 June 22, 2000. Brussels, Hypercube on TV........................................................ 5 June 28, 2000. Joe’s view of Spazz. Joe’s Redemption. ................................... 5 June 30, 2000. Joe’s Astral Body. ..................................................................... 5 July 5, 2000. The cliff at the end of Sheepshead peninsula............................... 6 July 8, 2000. The two plots................................................................................. 7 July 18, 2000. T-shirts. ...................................................................................... 7 August 8, 2000. Hypervision. ............................................................................ 7 August 25, 2000. Started Writing. ..................................................................... 7 September 12, 2000. Underway. Calvino quotes.............................................. 7 September 15, 2000. Four Chapters, -
Eighties Cyberpunk
Eighties Cyberpunk Barbara Lisele Zavala In the early 1980's, cyberpunk was used as a label to describe a new form of science fiction written by a group of five writers, which challenged the traditional genres associated with science fiction (Shiner, 7). SF used highly imaginative ideas to project scientific phenomenas, resulting in dreamy, stylized stories of space colonies and flying space crafts. This new science fiction was different, because it incorporated present global, social and technological situations to help induce the future of the world. It generated new outcomes for the future's high technological, society and global environment that would help categorize it into a specific form of writing known as cyberpunk. William Gibson, one of the five writers associated with the cyberpunk genre, is credited by critics and peers for typifying the cyberpunk writing form in his popular novel Neuromancer. Bruce Sterling, Rudy Rucker, John Shirley and Lewis Shiner, the other four writers who helped launch the movement, agree that Gibson's Neuromancer influenced the categorization of the new science fiction as cyberpunk. Therefore, Gibson's novel can be used as a reliable source for defining the cyberpunk genre. With this in mind, we can analyze the high-technology used in Neuromancer and its importance to the cyberpunk form of writing. Gibson creates an advanced technological machine called Flatline's construct, which is a "hardwired ROM cassette replicating a dead man's skills, obsessions, knee jerk responses" (Gibson, 20). This futuristic device that brings back human personalities from the dead, can be viewed as a result of the present fascination with bringing dead people back to life. -
Cyberpunk Mark Bould
14 Cyberpunk Mark Bould Reflections on “Cyberpunk” The word “Cyberpunk” was coined by Bruce Bethke for the title of a story published in Amazing in 1983, but it came to prominence when Gardner Dozois appropriated it in his 1984 Washington Post article “SF in the Eighties” to describe fiction by William Gibson, Bruce Sterling, Lewis Shiner, Pat Cadigan, and Greg Bear. The self- identified core Cyberpunk group consisted of Gibson, Sterling, Shiner, John Shirley, and Rudy Rucker. They were also dubbed the Movement, the “mirrorshades group” and the “outlaw technologists”; their fiction was sometimes called radical hard SF. As “Cyberpunk” circulated more widely following the success of Gibson’s debut novel Neuromancer (1984), it accreted fresh meanings and applications. To paraphrase Gibson’s famous dictum about human relationships with technology, the street (and the culture industries) found its own uses for “Cyberpunk.” It became an ever-expand- ing term for any slightly edgy artistic or cultural practice concerned with computers and/or the relationships between technology and the body, a synonym for “computer hacker,” the name of a role-playing game and even the title of a Billy Idol album. Although usually considered to refer to a movement, subgenre or an idiom, “Cyber- punk” was also an undeniably commercial label, attracting a lot of attention from readers, writers, journalists, critics, and marketing people. It spawned numerous derivative terms, including “cowpunk,” which described a revitalized western fiction (and had already been applied to the music of the Meat Puppets, whose name Gibson borrowed to describe prostitutes with neural blocks); “elfpunk,” which described post- Tolkien fantasy with attitude; and “ciderpunk,” a variety of pub rock from England’s West Country. -
Notes for FREEWARE Notes for FREEWARE by Rudy Rucker Copyright (C) Rudy Rucker 2005
Rudy Rucker, Notes for FREEWARE Notes for FREEWARE by Rudy Rucker Copyright (c) Rudy Rucker 2005 These Notes were begun on November 18, 1993. The writing of FREEWARE began January 15, 1994. The writing of FREEWARE ended in February, 1996. This version of the notes was edited and posted on the web on November 22, 2005. Notes word count: 57,599 -------------------------------------- Contents of the Notes for FREEWARE Document Outline ........................................................................................................................................ 1 Timeline. ..................................................................................................................................... 2 Genealogy. .................................................................................................................................. 4 Characters In the Book. .............................................................................................................. 5 Ideas About Possible and Actual Characters ............................................................................ 22 Technology. .............................................................................................................................. 24 Society. ..................................................................................................................................... 46 Slang. ........................................................................................................................................ 52 -
A Cyberpunk Timeline
A Cyberpunk Timeline Last Update: May 2007 1926 Metropolis released. 1928 Early use of the word "punk" to signify a criminal 1938 Dave and Lucile Packard move into a house at 36 Addison Avenue, Palo Alto, California. Bill Hewlett rents cottage behind the house and Bill and Dave begin part time work in the garage with $538 in working capital. The company name is decided with a coin toss. The new partnership is known as Hewlett Packard. (June) 1948 The word "cybernetics" coined by Norbert Wiener 1955 The Naked Lunch published 1956 The Stars My Destination (aka Tiger! Tiger!) published 1960 The word "cyborg" coined by Manfred Clynes 1964 Nippon Apattchi-zoku [The Japanese Apache] by Sakyo Komatsu published 1965 MIT researcher Lawrence G. Roberts & Thomas Merrill connected A TX-2 computer in Massachusetts to the Q-32 in Palo Alto, California with a low speed dial-up telephone line creating the first (however small) wide-area computer network ever built. (Jan.) 1966 The Moon Is a Harsh Mistress published 1967 Velvet Underground releases White Light/White Heat 1968 Do Androids Dream of Electric Sheep published Lawrence Roberts and the DARPA funded community refine the overall structure and specifications for the ARPANET, and bring it live. The Internet is born. (Aug.) 1969 Ken Thompson, Dennis Ritchie and colleagues at Bell Labs create the Unix operating system on a DEC-PDP-7 microcomputer. (June) 1970 The Stooges release Funhouse ... From the Rise of Dr. Adder to the Fall of Johnny Mnemonic ... 1972 Pong debuts K.W. Jeter completes Dr. Adder -
The Technological Singularity: an Ideological Critique
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 7-2015 The echnologT ical Singularity: An Ideological Critique Phillip Stephens University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Comparative Philosophy Commons, and the Modern Literature Commons Recommended Citation Stephens, Phillip, "The eT chnological Singularity: An Ideological Critique" (2015). Theses and Dissertations. 1211. http://scholarworks.uark.edu/etd/1211 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. The Technological Singularity: An Ideological Critique The Technological Singularity: An Ideological Critique A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English by Phillip Stephens Hendrix College Bachelor of Arts in History, 2004 University of Arkansas Master of Arts in English, 2015 July 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. Dr. M. Keith Booker Thesis Director Dr. Thomas Frentz Committee Member Dr. William Quinn Committee Member Abstract The Technological Singularity represents a confluence of techno-cultural narratives of progress in which the projected exponential growth of artificial intelligence and nanotechnology will usher in a moment of irrevocable change for the human race – a change that many claim is scant decades away. Although the concept saw its modern clarification by science fiction author Vernor Vinge, the Singularity sits astride both fictional and nonfictional narratives of the future. -
Notes for Mathematicians in Love, 10/16/2006
Rudy Rucker, Notes for Mathematicians in Love, 10/16/2006 Notes for my Sixteenth Novel, Mathematicians in Love by Rudy Rucker Copyright (C) Rudy Rucker 2006 Notes document created July 26, 2004. Book started October 27, 2004 102,100 words. Most recent update July 17, 2006 These notes have been lightly edited for the Web. Contents Goals ..................................................................................................................8 October, 2004, Version of Goals ...............................................................8 March 10, 2005, Version of Goals.............................................................9 Proposal Summary, March 15, 2005..................................................................9 The Characters ...........................................................................................9 The Story....................................................................................................9 Theme and Ideas ......................................................................................10 Design ..............................................................................................................10 Word Count..............................................................................................10 Voice and Tense.......................................................................................11 Sequencing...............................................................................................12 Number of Chapters.................................................................................13 -
Postmodernism and Science Fiction: a Confluence
International Journal of Innovation, Creativity and Change. www.ijicc.net Volume 8, Issue 9, 2019 Postmodernism and Science Fiction: A Confluence Munther Mohd. Habiba, aDepartment of English Language, Literature and Translation, Zarqa University, Zarqa, Jordan. There is close link between postmodernism and science fiction. Postmodernism offers a new approach for studying science fiction. Postmodernism emphasises the disappearance of boundaries between the artificial and natural, and reality and imagination, in the culture. Science fiction is a postmodern genre in which the boundary between the artificial and the natural is collapsed. Both postmodernism and science fiction concentrate on the drastic change in human life brought by the technology and media. Hyper-reality, simulation and post- industrial society are at the centre of both postmodernism and science fiction. The postmodern critics like Jean Baudrillard, Lyotard, and Donna Haraway turn to science fiction and consider it as a major form for representing the postmodern condition. Postmodernism has been discussed and defined again and again by these critics. Science fiction has an advantage over other genres of literature, in that it depicts the effect of science, technology and new economies of information technology. Postmodernism also concentrates on the influence of simulation and information technology on the world since World War II. The present research paper traces the influence of postmodernism on science fiction and the development of science fiction. Key words: Postmodernism, Science fiction, hyper-reality, simulation, information technology. Introduction The second half of the twentieth century witnessed fresh debate over past issues, arguments and debates. Technological development, growth in the use of media and computers, and progress in science are the marked features of the late twentieth century.