I wrote an essay on algorithmic aesthetics and the future of creativity for Aeon.
Two centuries ago, on a dare to tell the best scary story, 19-year-old Mary Shelley imagined an idea that became the basis for Frankenstein. Mary’s original concept became the novel that arguably kick-started the genres of science fiction and Gothic horror, but also provided an enduring myth that shapes how we grapple with creativity, science, technology, and their consequences.
Two hundred years later, inspired by that classic dare, we’re challenging you to create new myths for the 21st century along with our partners National Novel Writing Month (NaNoWriMo), Chabot Space and Science Center, and Creative Nonfiction magazine.
Don’t miss the announcement video, featuring yours truly in a role I’m sure to regret:
Newly released: American Dreamers, a collection of “dreams from optimists, inventors and mavericks with ideas for a brighter future.” My essay (online here) leads off the book with a look at the combustible, illuminating nature of good ideas and the unique optimism of the American Dream. It’s also a pretty good declaration of principles for what we are trying to accomplish at the Center for Science and the Imagination.
The New Yorker just released its first special issue devoted to science fiction, including contributions from genre giants like Ursula K. Le Guin and Ray Bradbury as well as rising “literary fiction” stars like Junot Díaz and Karen Russell. As writers at Wiredand io9 have noted, the issue marks a new level of mainstream interest in science fiction, giving a whole cadre of New-Yorker-obsessed “serious readers” license to take genre fiction, well, seriously. But what about science fiction in universities? In her contribution to the new issue, Ursula K. Le Guin argues that in the past “quite a few science-fiction writers accepted exile from the Republic of Letters to the ghetto of genre, perhaps because ghettos, like all gated communities, give the illusion of safety.”
In fact, science fiction has been sneaking into all sorts of new neighborhoods. The U.K.-based New Scientist has launched Arc, “a new magazine about the future,” while the venerable MITTechnology Review released a special issue of science fiction featuring Cory Doctorow, Joe Haldeman, and others. Ridley Scott’s television series Prophets of Science Fiction explores the power of fiction to both advance and complicate our ideas about the future, and Stephen Hawking is hosting the Science Channel’s Stephen Hawking’s Sci-Fi Masters.
I had a chance to interview Scott Z. Burns, screenwriter for Contagion, The Bourne Ultimatum and The Informant (not to mention producer for An Inconvenient Truth) for Slate last week. We talked about his deft ability to smuggle real science into Hollywood movies, the difference between Contagion and Outbreak, and his new comedy about mirror neurons.
Another post up on Slate last week:
What should we expect from science fiction? In a recent Smithsonian article by IO9’s Annalee Newitz, author Neal Stephenson criticized the dystopian cynicism that currently pervades the genre. Instead he calls a more optimistic, realistic approach—fewer zombies and man’s folly-style catastrophes, more creative inventions and solutions. In the spirit of being constructive, he’s also taking action. The first step is an anthology of optimistic, near-term science fiction, forthcoming from William Morrow in 2014, that will tackle this challenge head-on. Smithsonian describes the project, Hieroglyph, as a plan “to rally writers to infuse science fiction with the kind of optimism that could inspire a new generation to, as he puts it, ‘get big stuff done.’”