#neobaroque

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  • Prompt: Mundane science fiction (MSF) is a niche literary movement within science fiction that developed in the early 2000s, with principles codified by the "Mundane Manifesto"[1] in 2004, signed by author Geoff Ryman and "The Clarion West 2004 Class". The movement proposes "mundane science fiction" as its own subgenre of science fiction, typically characterized by its setting on Earth or within the Solar System; a lack of interstellar travel, intergalactic travel or human contact with extraterrestrials; and a believable use of technology and science as it exists at the time the story is written or a plausible extension of existing technology. There is debate over the boundaries of MSF and over which works can be considered canonical. Rudy Rucker has noted MSF's similarities to hard science fiction and Ritch Calvin has pointed out MSF's similarities to cyberpunk. Some commentators have identified science fiction films and television series which embody the MSF ethos of near-future realism.
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  • Prompt: The name "dieselpunk" is a derivative of the science fiction subgenre cyberpunk,[5] and represents the time period from World War I until the 1950s, when diesel-based locomotion was the main technological focus of Western culture.[6] The "-‍punk" suffix attached to the name is representative of the counterculture nature of the genre with regard to its opposition to contemporary aesthetics.[3] The term also refers to the tongue-in-cheek[7] name given to a similar cyberpunk derivative, "steampunk", which focuses on science fiction based on industrial steam power and which is often set within the Victorian era.[8]
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  • Prompt: Science fiction comedy (sci-fi comedy) or comic science fiction is a subgenre of science fiction or science fantasy that exploits the science fiction genre's conventions for comedic effect.[1] Comic science fiction often mocks or satirizes standard science fiction conventions – such as alien invasion of Earth, interstellar travel, or futuristic technology. It can also satirize and criticize present-day society. An early example was the Pete Manx series by Henry Kuttner and Arthur K. Barnes (sometimes writing together and sometimes separately, under the house pen-name of Kelvin Kent). Published in Thrilling Wonder Stories in the late 1930s and early 1940s, the series featured a time-traveling carnival barker who uses his con-man abilities to get out of trouble. Two later series cemented Kuttner's reputation as one of the most popular early writers of comic science fiction: the Gallegher series (about a drunken inventor and his narcissistic robot) and the Hogben series (about a family of mutant hillbillies). The former appeared in Astounding Science Fiction in 1943 and 1948 and was collected in hardcover as Robots Have No Tails (Gnome, 1952), and the latter appeared in Thrilling
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Climate fiction (sometimes shortened as cli-fi) is literature that deals with climate change.[1] Generally speculative in nature but scientifically-grounded, works may take place in the world as we know it or in the near future. The genre frequently includes science fiction and dystopian or utopian themes, imagining the potential futures based on how humanity responds to the impacts of climate change. Rationales for the genre typically assume knowledge of anthropogenic effects—human-altered climate as opposed to weather and disaster more generally—although broader definitions exist. Technologies such as climate engineering or climate adaptation practices often feature prominently in works exploring their impacts on society.
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  • Prompt: Biopunk is a subgenre of science fiction closely related to cyberpunk that focuses on the near-future (most often unintended) consequences of the biotechnology revolution following the invention of recombinant DNA. Biopunk stories explore the struggles of individuals or groups, often the product of human experimentation, against a typically dystopian backdrop of totalitarian governments and megacorporations which misuse biotechnologies as means of social control and profiteering. Unlike cyberpunk, it builds not on information technology, but on synthetic biology. Like in postcyberpunk fiction, individuals are usually modified and enhanced not with cyberware, but by genetic manipulation.[1] A common feature of biopunk fiction is the "black clinic", which is a laboratory, clinic, or hospital that performs illegal, unregulated, or ethically-dubious biological modification and genetic engineering procedures.[2] Many features of biopunk fiction have their roots in William Gibson's Neuromancer, one of the first cyberpunk novels.
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  • Prompt: In fact, the intervening decade between Oliver's field research and the publication of Shores [1971] had been one of critical self-reflection in the field of anthropology. In the United States, qualms about the Vietnam war, together with evidence that anthropologists had been employed as spies and propagandists by the US government, prompted critiques of anthropology's role in systems of national and global power. Various strains of what came to be known as dependency theory disrupted the self-congratulatory evolutionism of modernization models, evoking and critiquing a world system whose political economy structurally mandated unequal development. Less narrowly academic works such as Vine Deloria, Jr.'s, Custer Died for Your Sins (1969), combined with the efforts of civil-rights groups like the American Indian Movement, skewered anthropology's paternalist pretensions. Two major collections of essays -- Dell Hymes's Reinventing Anthropology (1972) and Talal Asad's Anthropology and the Colonial Encounter (1973) -- explored anthropology's colonial legacy and precipitated a critical engagement with the ethics and politics of ethnographic representation.: 253 
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Not only are these aliens comprehensible in anthropological terms, but it is anthropology, rather than the physical sciences, that promises a solution to the problem of alien colonization. According to the science of anthropology, every society, regardless of its level of development, has to functionally meet certain human needs. The aliens of Jefferson Springs "had learned, long ago, that it was the cultural core that counted-the deep and underlying spirit and belief and knowledge, the tone and essence of living. Once you had that, the rest was window dressing. Not only that, but the rest, the cultural superstructure, was relatively equal in all societies (115; emphasis in original). For Ellery, the aliens are not "supermen" (a favorite Campbellian conceit): despite their fantastic technologies, they are ultimately ordinary people with the expected array of weaknesses – laziness, factionalism, arrogance – whose cultural life is as predictable as any Earth society's. Since they are not superior, they are susceptible to defeat, but the key lies not in the procurement of advanced technologies, but in the creative cultural work of Earth people themselves.[5]: 248 
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  • Prompt: Bernard, as "custodian" of the "savage" John who is now treated as a celebrity, is fawned on by the highest members of society and revels in attention he once scorned. Bernard's popularity is fleeting, though, and he becomes envious that John only really bonds with the literary-minded Helmholtz. Considered hideous and friendless, Linda spends all her time using soma, while John refuses to attend social events organised by Bernard, appalled by what he perceives to be an empty society. Lenina and John are physically attracted to each other, but John's view of courtship and romance, based on Shakespeare's writings, is utterly incompatible with Lenina's freewheeling attitude to sex. She tries to seduce him, but he attacks her, before suddenly being informed that his mother is on her deathbed. He rushes to Linda's bedside, causing a scandal, as this is not the "correct" attitude to death. Some children who enter the ward for "death-conditioning" come across as disrespectful to John, and he attacks one physically. He then tries to break up a distribution of soma to a lower-caste group, telling them that he is freeing them. Helmholtz and Bernard rush in to stop the ensuing riot, which the
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The novel opens in the World State city of London in AF (After Ford) 632 (AD 2540 in the Gregorian calendar), where citizens are engineered through artificial wombs and childhood indoctrination programmes into predetermined classes (or castes) based on intelligence and labour. Lenina Crowne, a hatchery worker, is popular and sexually desirable, but Bernard Marx, a psychologist, is not. He is shorter in stature than the average member of his high caste, which gives him an inferiority complex. His work with sleep-learning allows him to understand, and disapprove of, his society's methods of keeping its citizens peaceful, which includes their constant consumption of a soothing, happiness-producing drug called "soma". Courting disaster, Bernard is vocal and arrogant about his criticisms, and his boss contemplates exiling him to Iceland because of his nonconformity. His only friend is Helmholtz Watson, a gifted writer who finds it difficult to use his talents creatively in their pain-free society.
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  • Prompt: Australia, unlike Europe, does not have a long history in the genre of science fiction. Nevil Shute's On the Beach, published in 1957, and filmed in 1959, was perhaps the first notable international success. Though not born in Australia, Shute spent his latter years there, and the book was set in Australia. It might have been worse had the imports of American pulp magazines not been restricted during World War II, forcing local writers into the field. Various compilation magazines began appearing in the 1960s and the field has continued to expand into some significance. Today Australia has a thriving SF/Fantasy genre with names recognised around the world. In 2013 a trilogy by Sydney-born Ben Peek was sold at auction to a UK publisher for a six-figure deal .[1]
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  • Prompt: Africanfuturism is a cultural aesthetic and philosophy of science that centers on the fusion of African culture, history, mythology, point of view, with technology based in Africa and not limiting to the diaspora.[1][2] It was coined by Nigerian American writer Nnedi Okorafor in 2019 in a blog post as a single word. Nnedi Okorafor defines Africanfuturism as a sub-category of science fiction that is "directly rooted in African culture, history, mythology and point-of-view..and...does not privilege or center the West," is centered with optimistic "visions in the future," and is written by (and centered on) "people of African descent" while rooted in the African continent. As such its center is African, often does extend upon the continent of Africa, and includes the Black diaspora, including fantasy that is set in the future, making a narrative "more science fiction than fantasy" and typically has mystical elements.[3] It is different from Afrofuturism, which focuses mainly on the African diaspora, particularly the United States. Works of Africanfuturism include science fiction, fantasy, alternate history, horror and magic realism.
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  • Prompt: Science fiction elements can include, among others: Temporal settings in the future, or in alternative histories.[271] Space travel, settings in outer space, on other worlds, in subterranean earth, or in parallel universes.[31] Aspects of biology in fiction such as aliens, mutants, and enhanced humans.[272][273] Predicted or speculative technology such as brain-computer interface, bio-engineering, superintelligent computers, robots, and ray guns and other advanced weapons.[272][274] Undiscovered scientific possibilities such as teleportation, time travel, and faster-than-light travel or communication.[275] New and different political and social systems and situations, including Utopian, dystopian, post-apocalyptic, or post-scarcity.[276] Future history and evolution of humans on Earth or on other planets.[277] Paranormal abilities such as mind control, telepathy, and telekinesis.[278]
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  • Prompt: Science fiction fandom emerged from the letters column in Amazing Stories magazine. Soon fans began writing letters to each other, and then grouping their comments together in informal publications that became known as fanzines.[261] Once they were in regular contact, fans wanted to meet each other, and they organized local clubs.[261][262] In the 1930s, the first science fiction conventions gathered fans from a wider area.[262] The earliest organized online fandom was the SF Lovers Community, originally a mailing list in the late 1970s with a text archive file that was updated regularly.[263] In the 1980s, Usenet groups greatly expanded the circle of fans online.[264] In the 1990s, the development of the World-Wide Web exploded the community of online fandom by orders of magnitude, with thousands and then millions of websites devoted to science fiction and related genres for all media
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  • Prompt: Conventions (in fandom, often shortened as "cons," such as "comic-con") are held in cities around the world, catering to a local, regional, national, or international membership.[255][256][257] General-interest conventions cover all aspects of science fiction, while others focus on a particular interest like media fandom, filking, and so on.[258][259] Most science fiction conventions are organized by volunteers in non-profit groups, though most media-oriented events are organized by commercial promoters.[260]
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  • Prompt: Among the most respected and well-known awards for science fiction are the Hugo Award for literature, presented by the World Science Fiction Society at Worldcon, and voted on by fans;[245] the Nebula Award for literature, presented by the Science Fiction and Fantasy Writers of America, and voted on by the community of authors;[246] the John W. Campbell Memorial Award for Best Science Fiction Novel, presented by a jury of writers;[247] and the Theodore Sturgeon Memorial Award for short fiction, presented by a jury.[248] One notable award for science fiction films and TV programs is the Saturn Award, which is presented annually by The Academy of Science Fiction, Fantasy, and Horror Films.[249]
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  • Prompt: Respected authors have written science fiction. Mary Shelley wrote a number of science fiction novels including Frankenstein; or, The Modern Prometheus (1818), and is considered a major writer of the Romantic Age.[221] Aldous Huxley's Brave New World (1932) is often listed as one of England's most important novels, both for its criticism of modern culture and its prediction of future trends including reproductive technology and social engineering.[222][223][224][225] Kurt Vonnegut was a highly respected American author whose works contain science fiction premises or themes.[226][227][228] Other science fiction authors whose works are widely considered to be "serious" literature include Ray Bradbury (including, especially, Fahrenheit 451 (1953) and The Martian Chronicles (1951)),[229] Arthur C. Clarke (especially for Childhood's End),[230][231] and Paul Myron Anthony Linebarger, writing under the name Cordwainer Smith.[232] In his book "The Western Canon", literary critic Harold Bloom includes Brave New World, Solaris, Cat's Cradle (1963) by Vonnegut, and The Left Hand of Darkness as culturally and aesthetically significant works of western literature.
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  • Prompt: Respected authors have written science fiction. Mary Shelley wrote a number of science fiction novels including Frankenstein; or, The Modern Prometheus (1818), and is considered a major writer of the Romantic Age.[221] Aldous Huxley's Brave New World (1932) is often listed as one of England's most important novels, both for its criticism of modern culture and its prediction of future trends including reproductive technology and social engineering.[222][223][224][225] Kurt Vonnegut was a highly respected American author whose works contain science fiction premises or themes.[226][227][228] Other science fiction authors whose works are widely considered to be "serious" literature include Ray Bradbury (including, especially, Fahrenheit 451 (1953) and The Martian Chronicles (1951)),[229] Arthur C. Clarke (especially for Childhood's End),[230][231] and Paul Myron Anthony Linebarger, writing under the name Cordwainer Smith.[232] In his book "The Western Canon", literary critic Harold Bloom includes Brave New World, Solaris, Cat's Cradle (1963) by Vonnegut, and The Left Hand of Darkness as culturally and aesthetically significant works of western literature.
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  • Prompt: Ursula K. Le Guin also criticized the more traditional view on the difference between "hard" and "soft" SF: "The 'hard' science fiction writers dismiss everything except, well, physics, astronomy, and maybe chemistry. Biology, sociology, anthropology—that's not science to them, that's soft stuff. They're not that interested in what human beings do, really. But I am. I draw on the social sciences a great deal."
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  • Prompt: Science fiction has historically been sub-divided between hard science fiction and soft science fiction, with the division centering on the feasibility of the science central to the story. However, this distinction has come under increasing scrutiny in the 21st century. Some authors, such as Tade Thompson and Jeff VanderMeer, have pointed out that stories that focus explicitly on physics, astronomy, mathematics, and engineering tend to be considered "hard" science fiction, while stories that focus on botany, mycology, zoology, and the social sciences tend to be categorized as "soft," regardless of the relative rigor of the science.
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  • Prompt: The study of science fiction, or science fiction studies, is the critical assessment, interpretation, and discussion of science fiction literature, film, TV shows, new media, fandom, and fan fiction.[208] Science fiction scholars study science fiction to better understand it and its relationship to science, technology, politics, other genres, and culture-at-large. Science fiction studies began around the turn of the 20th century, but it was not until later that science fiction studies solidified as a discipline with the publication of the academic journals Extrapolation (1959), Foundation: The International Review of Science Fiction (1972), and Science Fiction Studies (1973), and the establishment of the oldest organizations devoted to the study of science fiction in 1970, the Science Fiction Research Association and the Science Fiction Foundation. The field has grown considerably since the 1970s with the establishment of more journals, organizations, and conferences, as well as science fiction degree-granting programs such as those offered by the University of Liverpool and the University of Kansas.
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