Friday, August 29, 2014

Executive Summary: August

 Marta & the Demons

Marta & the Demons -- a novelette about getting out at the top. I guess it's design fiction? Designtopic YA? Currently Kindle only, 99p only. Stars & advice gratefully swallowed.

I've expanded an enormous review of Cory Doctorow's Pirate Cinema (with some notes on Down and Out in the Magic Kingdom too). A bit rough in parts, but I think basically done. It talks about copyright, YA fiction, utopia, design fiction, reputation currencies, etc.

Also:



Thursday, August 28, 2014

Hypothesis Thursdays: A Muddiest Proposal

When you weigh up the pros and cons, genre writing would be way better off without any prizes at all.

Earlier: underappreciated authors

Underappreciated Authors

Underappreciated authors: over at SF Signal, some interesting-sounding leads to chase up. I'm stunned-not-stunned nobody mentioned the great Steve Aylett, who makes "impervious to popularity" his USP. Also, Cheryl Morgan's Eurocon recommended reading includes a lot of names new to me.

It is probably true that genre readership has a top-heavy structure: there's way too much attention, desire, intelligence and resourcefulness, focused on a few superauthors. Some of that stock of fervent, sentient energy could be more justly housed in the accomplishments of midlisters and weirdos.

What if there were no underappreciated authors, no underrated authors? What if everyone were appreciated just the amount they deserved? Would there be a downside?

One of the unique virtues of genre fiction -- in particular, of science fiction (and its quasi-realist concomitants like design fiction and some YA) -- is a capability which relies on a certain amount of top-heaviness, a certain superficially excessive focus on a small number of writers and texts. I think the downside would be diffusion, and an associated degradation of this capability which is peculiar to genre fiction.

It is the capability of second-order extrapolation. It seems impossible to get anywhere significant in the imagination with only one extrapalatory leap: no matter how ingenious you are with your leap, no matter how you twist and contort in the air, there's simply nowhere interesting within range. That is a fact about the historical moment we're living through.

But when you have a gigantic readership who are periodically funneled together through the bottlenecks, such as avidly devouring a superauthor's Latest Awesomeness, or such as reading all the works nominated for a particular award, then you get the possibility of creating a special kind of public. It's a public that periodically naturalises the novum. That is, there's a regular cycle of absorbing a set of extrapolations (and other cognitive estrangements) and codifying them as genre literacy, something which can now be taken for granted ... perhaps opening the way for other authors (or the same authors) to build on the baseline!

In other words, having underappreciated authors is part of what gives genre fiction its real avant-garde potential (assuming the only avant-garde worth bothering with is actually the avant-avant-garde).

Of course, that theory does rather rely on the superauthors and the prize nominees occupying an avant-garde and/or marginal position in the first place, rather than just being adept centrist synthesizers, which isn't usually how they Rowl ...

(Get it, like JK Rowling?)

(jk)


Adversarial compatibility

Cory Doctorow on sunk costs and adversarial compatibility.

"There are two groups of people who especially rely on this kind of thing: poor people – especially the global poor – and people with disabilities."

Side note: makes me think about how we may see a rise in flexible platforms (or, more generally, of symbolic steering media), which hug the contours of existing behaviours, awaiting moments when they can poach users, cloaking or displacing sunk costs and making a switch appear like it's just a minor reconfiguration of preferences, rather than a categorical leap. (There are tiny hints of this kind of thing already: "I don't think I really need a MySp-- oh, I can sign in with my Twitter? Okay." "I can't be bothered using Google+; what the hell, all my images are there already ...?")

Wednesday, August 27, 2014

New Genre Wednesdays: Fan-fic

Can't really think of any new genres this Wednesday. Maybe this should be the last of New Genre Wednesdays. Here's the first (last Wednesday).

Fan-fic, maybe?

No, not fanfic. Fan-fic. Fiction about science fiction fans, fiction told from the perspective of those steeped in science fiction. It doesn't really matter if fan-fic is set in our universe or another universe. If science fiction is a way of reading, these protagonists read their world in a way which makes it into science fiction.

Monday, August 25, 2014

SFF names #3: Rumplestiltskin

Collected in the Brothers Grimm, the story of Rumplestiltskin revolves around a wager to guess the name of an imp, in order to escape an earlier bargain.

Rumplestiltskin has nothing to gain by offering this wager. Why do it?

Perhaps because the original bargain is already illegitimate? -- because you cannot have a proper contract with the nameless?

But if this happens to you, don't guess Rumplestiltskin right away. Consider some of the variants.

Rumplestiltskin is taxonomized as Aarne-Thompson #500: the Name of the Helper.

Thursday, August 21, 2014

Blogcon: absence makes the heart grow fandomer

[UPDATE: Martin Wisse's gigantic links roundup!]

Some WorldCon posts etc.:

"ON SUNDAY, 17 August, I toasted the memory of Iain Banks next to a chair made of human bones. Single malt, of course. [...] Banks was born in 1954 and published 27 novels over his career, alongside a short story collection and Raw Spirit, a tour of Scotland's distilleries. His unparalleled dual career as a writer of science fiction, published with the middle initial M (for Menzies), and of literary fiction, published without, made him one of the most popular and critically acclaimed British authors of the last thirty years." Martin Petto: In the Wake of the British Boom: The 72nd World Science Fiction Convention.

"Well, here I am, back from London and Loncon, with much to tell. I combined my third foray to Worldcon (and my first as a Hugo nominee) with a family vacation, both of which were delightful if a little tiring--a classic "I need a vacation after this vacation" situation. The experiences of both convention and city are already swirling in my head, so I'd better get them down while it's still possible to make sense of them [...]" Abigail Nussbaum: London and LonCon.

"LonCon3, the 72nd World Science Fiction Convention, was happening too close to me this year for me to be able to resist temptation. So last Saturday I got up at an ungodly hour, got on a train to London, and spent the day at the ExCel Convention Centre attending panels where writers and critics I admire discussed various aspects of speculative fiction and fandom, going to readings by some of my favourite authors, and wandering around [...]" Ana S: LonCon3 Report.

"When I’m at conventions I am so fully immersed it takes me a long time to be able to order my thoughts well enough for a blog post. Sometimes I never get round to writing about the particularly intense cons because there’s simply too much trying to get out of the narrow funnel from my brain to my fingers. As I said to a friend earlier, trying to write about Nine Worlds and Loncon 3 back to back is like trying to stuff a pillow down the nib of a pen." Emma Newman: Nine Worlds and Loncon 3.

"I asked a question at the Queer Desires in Fandom panel about whether different types of fandom attracted fans with different types of queer identities, but realised later that it was the wrong question. What I should have asked was whether the panellists found that their personal experiences of queerness affected how they engaged with fandom and even which sort of fandom they preferred to engage with [...]" Not By Its Cover: Queerness and Fandom, Reading the Other, A Singularity for the Rest of Us.

"This weekend I've been to LonCon3, my second WorldCon. I went last year and had a lot of misgivings. This year erased those misgivings entirely. What a great experience. What a great con. Let me count the ways." Andrea Phillips: Loncon3, A Retrospective.

"You may or may not recall, dear readers, that I was traveling to foreign English lands all last week, in order to attend Nine Worlds 2014, and LonCon3: the 2014 World Science Fiction Convention. Many were the adventures of your intrepid correspondent! Much did she travel! Far did she wander on untrodden paths [...] Well, maybe not so much with the untrodden [...]" Liz Bourke: Adventures in Visiting England and Conventions, Parts I, II, III, IV, V, final thoughts.

"We registered at Loncon late today, so we missed the huge lines (I don't know if that suggests any problem with the con itself or is just inevitable). The convention center that the con is in one end of is certainly very, very long. But on the bright side, that means lots of mall-food-court type food and lots of tables with chairs where people can hang out, which Chad & I did after our program items. Anyway, my first panel was today [...]" Kate Nepveu: Loncon: The Superhero-Industrial Complex, Loncon: Translating Genre, Loncon: Fallen London: Recreating London in Games, Loncon: Content and Form: Writing SF/F in non-Western Modes, Loncon: Imagining Fantasy Lands: The Status Quo Does Not Need Worldbuilding, Loncon: Welcome to Night Vale, Loncon: some general stuff, Loncon: Fan Activism, Loncon: Feminism and Sexism in Fandom, Loncon: the Canon is Dead. What Now?, Loncon: I Before They, Except After You, Loncon: the Gendered AI, Loncon: Quick Follow-ups.

"For my followers who aren't SF/F fans, Worldcon is the annual World Science Fiction Convention, which is held in a different city each year (local convention groups bid to run it). It's mostly stateside, but gets out to the UK about once a decade. This year the 72nd Worldcon was LonCon3, being held at the Excel centre in Dockland from 14th to 18th August. [...] For SF/F fans who don't otherwise know me, I'm also a disability rights activist, so I probably came at Worldcon from a slightly different angle to most people - about two feet lower and on wheels <g> [...]" David: Worldcon on Wheels.

"I’m home! With books galore! [...] And con crud. But books!! [...]" Lisa: Con Report: Loncon 3.

"I headed to London straight from the studio to be in time to catch up with Rina & Jacob from Tachyon Publications, and Rani Graff from Israel, for dinner. There was a party at Rina & Jacob’s apartment last night, at which I managed to catch up with a bunch of people, including Pat Murphy whom I have not seen in ages. Her work in progress sounds very interesting. Also John Kessel told me he has a novel that he’s almost ready to shop around, which is excellent news. [...]" Cheryl Morgan: Day 0, Day 1, The Trans Stuff at Worldcon, Day 2, Day 3, Day 4, Day 5, Worldcon Wrap, A Few Brief Hugo Stat Comments, Academics at Worldcon -- What Went Wrong? (argh that's me).

"Having worked and attended a select handful of 'Geek' events, I was hugely excited as I headed to LonCon3, this year’s WorldCon host. Before I begin, I want to say the biggest Thank You to Kate Nepveu, and her excellent “Con or Bust” project, any spare money I have goes to promoting Chinese culture, and without the project, I would have been unable to attend [...]" Xueting Ni: A Recapitulation of Loncon3.

"Only a week after the event, here’s my event report. Just like back in school. The short version: a great time was had and lots of new and interesting people were met, including some heroes of mine in within fiction writing. Can’t say fairer than that [...]" R.A. Smith: Fun and Games at Loncon3.

"The dust has settled and I’m peering over the precipice of a new job which begins September 1st, so I thought it would be a good time as any to get this pesky con-report-blog thing out of my way." J.D. Yang: Conventionally speaking.

& Madeline Ashby's report -- but has it disappeared for now ... ?

& Prince Jvstin's pics on Pinterest. & Gemma Thomson's pics, & Gemma's storification of the re-creation of Iain M. Banks's one-game-to-rule-them-all, Azad.

& some Hugo winners: Mary Robinette Kowal, Kameron Hurley, Ann Leckie, Charlie Stross ...

& Gene's convention survival guide.

& Jonathan McCalmont on the future of WorldCons: make them conventions held all over the world!

& @Hello_Tailor (I think) on Worldcon, Nine Worlds, & the generation gap.

Earlier: My Loncon schedule.

Wednesday, August 20, 2014

Badge Fic

1.

Twitter has a blue verified account tick badge. It shows that somebody is really who they say they are.

It's time we have another kind of badge: one that shows that you're really listening.

The Mute function is more-or-less pernicious, but perhaps it has its place in a lively, flourishing online attention ecology.

But there needs to be something that reassures us someone isn't abusing it. Perhaps this badge appears on your profile -- discreetly of course -- so long as you haven't muted more than 10% of the people you're following?

Otherwise we've just gone from connecting with people to collecting people.

2.

But there is a more general, and slightly inevitably melodramatic, point to be made.

Twitter, by all means, have our tweets algorithmically sorted, enhanced and monetised. But please, let us turn it down, or tailor it, or switch it off. And let us be able to connect with others who have the good sense to turn it down or tailor it or switch it off.

Twitter is the greatest social media site that has ever lived. I bet I'm not the only one who senses imminent decline. Twitter is tottering and twembling.

Twitter wants to make money, to make as much money as it can. OK. But even within that constraint, it has a lot of options. And it has ethical obligations about how it uses those options. I hope Twitter will think not just about what users want, and not just about monetisation, but also about the different kinds of online culture which different choices will cultivate.

I hope that Twitter will give its users the opportunity to tailor their own social media architectures (creating a possibility space, in other words, which includes (for instance) the Twitter we have today as one of its possible configurations), and that Twitter will decide what needs to be private, and what needs to be public, about users' individual set-ups on the basis of what is most conducive to the construction of a real public sphere.

3.

(Alternative suggestions to the "I'm really listening badge": make muting temporary, or replace it with a "Less From This User" button).

4.

(Earlier: What It's Like Following Thousands of People. The right way to incorporate algorithmic sorting into Twitter).

Badge Fin

New Genre Wednesdays: Metafuturism (FIVE DRONES)

UPDATE: Check out SUPERFLUX Issue 1: editorial by Warren Ellis and drone fictions (not, to be fair, "predictions") by Tim Maughan.

*   *   *


What is metafuturism?

First, that's "-futurism" not as in futurismo, but as in futurology: sifting the present for traces of the future, just as historians sift the present for traces of the past.

Metafuturism Manifesto

Metafuturism morphs from futurism through the so-called Timidity Turn. It doesn't make predictions about the future. It just makes predictions about predictions about the future.



Metafuturism Sampler Exposure Draft: FIVE DRONES

E.g. I predict Tim Maughan's forthcoming bestiary of drones project may include the following drones:

1. Beats Moth

Autonomous hexacopters with superdirectional mics, the Beats Moth flock is all about providing the perfect tailored soundtrack to your day ... and night! Basically you walk around, and the drones play music that suits whatever it is they think you're doing. At first a novelty and a nuisance, Beats Moths unlocked new funding flows when it became obvious that some spots in the city are, in the long run, just way happier than others. Soon it became all about creating positive associations ... and negative ones! Now the sponsor's commercial jingle, slightly morphed for deniability, and perhaps algorithmically blended into the diffuse circumference of a recent chart hit, gets beamed into the ears pedestrians who are, all else being equal, probably ecstatic. Likewise a competitors' soundscape, stripped to its bare essentials, gets associated with instants of glare, stress, jostle, honk and stink. This is Muzak 2.0, or at least, 1.01. These drones even link up to a facial recognition database and a perpetually seething analysis of who might perv / shyly crush upon / actually fully-fledged fall in love with whom -- and what that falling-in-love should sound like, commercially speaking. Your eyes meet across a crowded room, just as Big Data suspected that they might. If ad priming be the food of love ...

2. MePee

These drones are taking the piss. Small, fleet, minty total-genital-possibility-space floating urinals skirr city centres of a Saturday night, guarding the wheelie bins and alley edges, drifting into the urb-suburban peripheries as dawn approaches scouring the homeward stumbleways. One-off use is extortionate so subscription is recommended. Also you don't have to watch the ads ("You may skip to urination in 10 seconds") and you get a free basic urinalysis with a huge array of paid upgrades: seriously, subscribe. Drones' onboard promotional equipment includes webcams linked to facial recognition software, 4.3V800MA searchlight, and speakers broadcasting helpful reminders of case-law relating to the Public Order Act 1986 and relevant local bylaws. Two main malware threats are both ransomware. The first -- varieties include PissCam Police, Piss2PotIn -- uses basic GC-MS analysis to look for prohibited substances, but a small fee will keep your positive results ex-directory if that's a desirable in your industry (the database of positives is generally used more by employers and insurers than law enforcement). The second form of ransomware, known as Clamp, relies on certain hardware mods, and has a more direct tactic.

3. Pronoun Pterygota

These are pretty self-explanatory. Small, lightweight, originally colour-coded but -- following controversy -- now generally colourless with a ticker (e.g. "they / them"). Pronoun Pterygota slip forward when they decipher a fresh contact in process, and soon retreat to the discreetest dynamic labyrinth of the dronethick air you could wish for; but should you ignore the datum they've provided, they'll swiftly turn as loyal to your fucking eyes as the summer wasp swarm is to its cider. A cheap, flexible, swarm-based pronomial decorum solution. Pronoun Pterygota are a thing.

4. Face Manager Bat

This winged familiar obsesses over your looks so you don't have to! Not only will you never again futz your Cute Meet with a crumb of tuna on your chin or a dead fly in your side-burn: the real benefits roll in when you install a free ambiance and line-of-sight optimisation ap such as TomTom Nano. Swipe your Face Manager Bat in Mirror Mode, apply one of thousands of fun filters like MySpace Angle or Shadow-Dappled Shepherdess, or just manipulate your cheekbones manually by dragging on the touch-mirror, and simply tap the "What My Crush Sees" button. You'll get real time data via Glass or headphones on how to jut your jaw or incline your nape. No known malware, though certain forms of complex love polygons run the risk of falling into feedback loops from which arise processes like arms races or bidding wars for optimally cute angles. You move, your crushes or transitive crushes move in response, so you move again, and so on. Like sunflowers following a time-lapse Big Bang of all the suns in the universe, you will loll and twirl, your bodies perhaps contorted and laced together, tugged by your elegant questing faces into a tangle, and in a few extremely rare cases, your very bones torn apart, and at the edge of your crush's vision, the light extinguished from your brooding, exquisite, enigmatic eyes.

5. Copatrice

It's not exactly clear where these come from, but they keep coming. They do one thing: follow cops around and broadcast what they're doing. The name is weird: maybe the idea is to turn cops to stone by overwhelming them with their own imagery. Following a series of futile countermeasures, cops just stopped looking like cops. Now anybody could be a cop.

*   *   *

UPDATE: Check out SUPERFLUX Issue 1: editorial by Warren Ellis and drone fictions by Tim Maughan. Looks intense. See also Superflux's The Drone Aviary at the V&A.

Monday, August 11, 2014

SFF names #2: Lucy

There is a poem about a Lucy by William Wordsworth:
A slumber did my spirit seal;
I had no human fears:
She seem'd a thing that could not feel
The touch of earthly years. 
No motion has she now, no force;
She neither hears nor sees;
Roll'd round in earth's diurnal course,
With rocks, and stones, and trees.
Grief is often figured as a kind of slumber. But here it is an awakening.

And what if things had been different? Say the poem went, "She neither sees nor hears"? I liked Geoffrey Hartman's reading of the poem, which discovers the word tears choked back, replaced by trees.


Umberto Eco, in The Limits of Interpretation, thinks that a reading like Hartman's goes too far. Eco has difficulty capturing his intuitive idea -- that there is such a thing as overinterpretation, and that authors have some kind of special say in what their texts mean -- in any defensible form.

How do you interpret a name? Can you overinterpret a name? Perhaps names relate to authors in a special way, or in a sharply revealing way. The first author of a name is usually a parent. But as their life grows, authorship itself is transferred to the bearer of the name.

§

Amal El-Mohtar's "The Lonely Sea in the Sky" quotes from the same Wordsworth poem. In that story, a molten diamondlike mineral gets the nickname Lucyite.

But unlike most diamonds, Lucyite swims endlessly toward its home through a higher-dimensional space. So, with tinkering, it allows instantaneous travel between Earth and Triton.

Wordsworth; Pink Floyd; Sinbad's rocs picking up slabs of meat rolled in diamonds . . . "The Lonely Sea in the Sky" arranges itself at the intersection of many poems, stories, and songs. The name Lucyite comes courtesy of The Beatles:



. . . but it can't be a coincidence that it was Lucy up there in the first place; Lucy is from the Latin lucis, light: it's as if Lucy wasn't in the sky with the diamonds, the diamonds would probably have to emanate her. (Luckily, via the English pun, she's the only one who is light enough to float up there to join them).

Lucyite also echoes the time-(t)ravelling "sender" Luciente, from Marge Piercy's Woman on the Edge of Time. Maybe it's because of diamond's association with light that it feel like an appropriate material to shape into a shortcut around the edge of time, or around the back of the universe. Light, according to one or both of the relativities, by virtue of its superlative speed in any reference frame cannot age. It is frozen time, just as diamonds are proverbially forever. (Update: see note).

-ite is a common suffix used to designate a mineral or a chemical compound; but also sometimes to designate a type of person: Blairite, hermaphrodite, Israelite. Both conventions tilt and wink as the tale's crystal cogs turn: Lucyite is (sparkler alert) alive.

The mineral hardening of Lucyite's glow as it enters its suffix phase also recalls Lucifer, who is always half-enmired in iron (that is, loosely, ferrous) via his adjective luciferous. This Lucifer has bragging rights as the swiftest traverser of a certain kind of space, having fallen from within snatching distance of the Most High to the bottom of the universe, the point farthest from God.

The faint presence of the eminently contradictory Lucifer in this very deliberately gleamingly multi-faceted story may provoke a kind of exegesis. Rubick's-swivelling (cf. "roll'd round") through the story's initial-state allegory, at which point the most lustrous edges delimit the epic contradiction of "power vs. counterpower" (i.e. commercial teleportational bustle vs. the affective agony of the silenced subject on which that bustle depends) we could eventually lock in our perspective on a different superimposed allegory, one about about the contradictions internal to counterpower. "The Lonely Sea in the Sky" could be a story about creating spaces, specifically crystalline spaces. Intricately intersectional spaces that cannot be evenly illuminated suggest the notorious interlocking matrix of domination, pervaded by trade-offs in which an incremental advance for one dominated category is frequently at the expense of some other dominated category. Perhaps the allegory offers two mitigations: forgetfulness (because it is not within the power of the hurt to forgive) and tragic sacrifice.

-ite is also not far off light, and the word "Lucyite" therefore recalls the permanent immaterial expansion at the heart of Aram Saroyan's minimalist poem:

lighght

But then again, as El-Mohtar's protagonist Leila Ghufran claims:

"[...] I am not my name -- did not even choose it for myself -- and a name is always a synecdoche at most, a label misapplied at the least."

§

Elsewhere: Mary Catelli is musing about names.

Elsewhere: Gareth Powell on Lucy and Blood Music.

Note: What is going on. Scottish scientists slow light. Help.