Kim Stanley Robinson på Bloom Festival i Søndermarken, Kbh. 28.5.22

– There IS no Planet B

 

BLOOM FESTIVAL er en efterhånden mangeårig fritænker- og planetpasser-tradition, der udspiller sig i Søndermarken, en have i København på hele Valby Bakke.

Om arrangementet siger BLOOM:

Science fiction er vor tids realisme. For hvordan ser planetens fremtid ud, og hvordan kan science fiction hjælpe os med at gentænke natur, økologi og klima?

Den verdensberømte science fiction-forfatter Kim Stanley Robinson fortæller om sit forfatterskab.” 

[ Og ikke mindst Ministry For The Future, som da for pokker snart må blive oversat til dansk. ]

Scene: Summer

Lørdag 28.05, 15.30-16.15

https://www.bloom.ooo/program/there-is-no-planet-b

BLOOM FESTIVAL’s program

https://www.bloom.ooo/program/?dag=1

Time Travel definition in fiction

– what to look for

 

This is my guide for my Time Travel Movie list – things to consider, when digging up titles.

NB: Be aware of plot-spoilers in method and tags – let people mess up their own viewing pleasure via imdb and RT.

PERSPECTIVE

Who is the POV of the story?
Evaluation of the Time Travel theme lies with this view.

Time Travel is a matter of perspective:
Who or what leaves the orderly progression of events, and who is visited by persons, data or objects of a later or earlier data?

Life lived out of sync
with everything else from the perspective of the observing eye – either ageing faster or slower in relative measurement.

HOW:

Entropic decay of bio-matter will co-exist with matter either younger or older life in relative terms calculated from the assumed beginning of the present cosmological expansion. Continue reading “Time Travel definition in fiction”

A great story INSIDE a not so great film

-2022

I was instantly reminded of Bladerunner, and I see many references to it in the images, the tone, the setting, the music – all without the facade of larger-than-life storytelling causing the dream state that makes Bladerunner iconic.

LOVELAND or EXPIRED (a bad title, because it is neither fully correct nor a genuine mis-lead) consists of the grit of reality, even if a bit into the future – not social realism, just the unwavering loss of hope, the emptiness of existence, in the big city or simply among other people. In this sense it is almost merciless – the only redemption that which is given freely from one human to another, posing as the singular meaning of life. And then even that is taken away. Maybe. Possibly, Unclear

I can’t really feel it. Wish I could.

The problem is not exactly the acting, or the lighting, or the directing. It’s the voice-over, or rather the dramatic necessity of the voice-over. However similar to the 1st theatrical version of Bladerunner, which worked to ease the audience into what was seen as a dark story, to lighten the mood in the tone of snub-nosed detectives of the 1930s – but LOVELAND without the voice-over would simply not work. There would be no heart, because that text causes our lead to be human – except that the voice-over monologue describes a character COMPLETELY different from the one of the lead – as the filmed lead never says or hints at brain activity at a level of poetry approaching that of the voice-over. Unfortunately and incredible.

I do however love the theme. How a person can literally adapt to a life without feeling, because their hormonal cause of deep emotion is taken from them, and then – if attraction causes them to produce these hormones again – begin to die. But even if the TAKE on the old story of the price of falling in love is actually quite good, it overstays its welcome – as if the director does not trust his audience with the material. Yet another script treatment – possibly to integrate the voice-over – would have made it a greater story and possibly a GREAT film.

And what happened to Hugo Weaving? That was abuse of an interesting role as well as actor. Nasty to just turn a good actor into function. And worse if it happens in the cutting room.

I would love to give it a 10.

But I have to give it 6.4. And if I think more about it, that grade will drop further. But it IS a good story – inside all of the noise, the pretentiousness, the director’s fear, the length without real payoff, as I am left to imagine what kind of film it COULD HAVE BEEN.

[where to watch]

Warning Light Calling, en ægte science fiction-digtsamling?

– spændingen er relevant!

 

Det er meget almindeligt for danskere, der skriver science fiction, at appropriere genrens historieelementer, så ”det ligner fremtid”, frem for bare at skrive en regulær science fiction-historie med alt hvad dertil hører: Der skal faktisk en pæn stor mængde velovervejet verdenskonstruktion (”world-building”) til for at skabe en troværdig illusion om ahistorisk tid. Begrundes en histories tid og sted omhyggeligt, kan fortællingen og karaktererne udvikle sig i ro og mag, og øge chancen for at læseren køber præmissen om ”hvad nu hvis…”. Laver man i stedet ”lazy worldbuilding”, bliver det fremmede til en gimmick for den kræsne læser, der irriteres over ikke at få ”hele universet foldet ud”.

Vel nok årets fedeste omslag! [by Marissa Wagner]
Peter Graarup WestergaardsWarning Light Calling” angives af forlaget at være en science fiction-digtsamling, dvs. en konstrueret virkelighed, som digtene ét for ét fremvækster dele af: Hér Sovjet-dissidens, hér et russisk navn, hér en comerade – på samme måde som rammerne for en hvilken som helst (anden) genre-novelle eller -roman introduceres for læseren.

At begrunde nye og fremmede elementer er typisk nemt for novelle og roman, fordi forestillingen om det fremtidige tiltaler et bestemt publikum, der for en stor del gerne vil alt dét med at komme ud i rummet og møde fremmede livsformer, og gå på opdagelse i teknologi og værens- og omgangsformer, der ikke lader sig gøre på Jorden i nutiden – som en slags spejder/nybygger/ingeniør-mentalitet – mens færre lader sig begejstre af ”det filosofiske” ved forestillingen om faktisk at ”leve i fremtiden”. Som sådan er karaktererne i en prosaisk SF-fortælling sjældent alt for eksistentielt ramte og eventyret begynder derfor gerne med, at nogen bryder med vante rammer eller rammes af et teknologisk ”backlash” af en art – noget, der holder op med at virke og derfor skal løses, forklares, redegøres, nås, bemestres på en særlig, ny måde, gerne med videnskab og teknologi til hjælp. Reparation, civilisation, orden. Continue reading “Warning Light Calling, en ægte science fiction-digtsamling?”

Himmelskibet #63

[Forsidegrafik: Michael Bernth]

Hent det nyeste nummer direkte fra himmelskibets mund:

Himmelskibet 63

Jeg har en anmeldelse med i #63 af noget så sjældent som en science fiction-digtsamling. Læs anmeldelsen i Himmelskibet, eller læs den her på sitet efter 1. marts.

Den ser sådan hér ud (med et omslag, der rammer mig et eller andet sted i mellemgulvet, hver gang jeg ser det):

Porcupine Books, thank you for the years

– and the new on-line catalogue!

On 02 Nov 2021, at 08:06, Brian Ameringen wrote:

Hi Everyone,

This is to let you know that the Porcupine web-site: http://www.porcupinebooks.co.uk – has now been updated.

All Best
Brian.


Porcupine mailing list, subscribe
http://mailman.firedrake.org/cgi-bin/mailman/listinfo/porcupine

Thank you, Brian.

I am sad that UK has left the EU, for many reason, but customs make it hard on all. 

I wish for you that all of your wonder wonderful books find a home away from you. 

The Custodian of Paper. The Seller of Imaginings. 

Every time I had a catalogue from you, my mind instantly reached out to ask: How can all of this be saved for prosperity, the art, the dreams, the ideas, the longing, the professionalisms? Public libraries are no good for books – they throw away the worn. Virtualisation is counterproductive. Reading museums? Freeshops? Rewards for keeping them at home and available? How? They are humanity’s forecasts. Only one way: Give them to young people. 

This inner discussion inspired the short story attached (printed in a German anthology). Thank you for all the catalogues, Brian.  Continue reading “Porcupine Books, thank you for the years”