Space Age: Mapping’s Intelligent Agents

Navigational chart from the Marshall Islands, made of wood, sennit fiber, and cowrie shells. [Wikimedia/UC Berkeley]

With the stakes so high, we need to keep asking critical questions about how machines conceptualize and operationalize space. How do they render our world measurable, navigable, usable, conservable? […] In a coming age of robot warfare and policing, we could see designers specializing in the creation of robot-illegible worlds rather than machine-readable ones […]

Shannon Mattern: ‘Mapping’s Intelligent Agents’ at Places.

Southern California Science Fictional Thinking in Mundos Alternos: Art and Science Fiction in the Americas

Boom California

UCR Arts Block-28

Tyler Stallings

History is written in retrospect. Patterns are sought among seemingly unrelated events at the time of their occurrence. There is never just one historical narrative. Historians make choices about what events to represent and from which perspective, often to the disadvantage of people on the losing end—for example, the colonized or enslaved. Mundos Alternos: Art and Science Fiction in the Americas provides a space-time continuum for reimagining the past from the perspective of the “alienated” and the “other,” from the peoples marginalized by the powerful. The exhibition includes over thirty contemporary artists who explore interactions of science fiction and the visual arts in Latin America, the U.S., and the intergalactic beyond; collectively laying out a provocative view of arts in the Americas told in the present but with an eye toward future, alternate Americas.

Mundos Alternos is an 11,000-square-foot exhibition, with an accompanying book of the same title…

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The Habitation of the Linked

For perhaps the final time, at least here (once again, I’m shifting over to the Strange Horizons blog):

Cascadia Subduction Zone

Huzzah! Not too long after the launch of one critical zine comes news of another. It’s like, I don’t know, some holiday when people are encouraged to hand out gifts, or something. The Cascadia Subduction Zone is produced by Aqueduct Press and says of itself:

The Cascadia Subduction Zone aims to bring reviews, criticism, interviews, intelligent essays, and flashes of creative artwork (visual and written) to a readership hungry for discussion of work by not only men but also women. Work by women continually receives short shrift in most review publications. And yet the majority of readers are women. Ron Hogan writes in an August 2010 post on Beatrice.com, “[Jennifer] Weiner and [Jodi] Picoult, among others, are giving us a valuable critique of a serious problem with the way the [New York] Times [Book Review]—and, frankly, most of the so-called literary establishment—treats contemporary fiction. Which is to say: They ignore most of it, and when it comes to the narrow bandwidth of literature they do cover, their performance is underwhelming, ‘not only meager but shockingly mediocre,’ as former LA Times Book Review director Steve Wasserman said three years ago. And it hasn’t gotten any better since then, leaving us with what Jennifer Weiner describes as “a disease that’s rotting the relationship between readers and reviewers.”

The relationship between readers and reviewers interests us. We want to bring attention to work critics largely ignore and offer a wider, less narrowly conceived view of the literary sphere. In short, we will review work that interests us, regardless of its genre or the gender of its author. We will blur the boundaries between critical analysis, review, poetry, fiction, and visual arts. And we will do our best to offer our readers a forum for discussion that takes the work of women as vital and central rather than marginal. What we see, what we talk about, and how we talk about it matters. Seeing, recognizing, and understanding is what makes the world we live in. And the world we live in is, itself, a sort of subduction zone writ large. Pretending that the literary world has not changed and is not changing is like telling oneself that Earth is a solid, eternally stable ball of rock.

All of which I can easily get behind. There are good people involved, too — Managing Editor is Lew Gilchrist, Reviews Editor is Nisi Shawl, Features Editor is L Timmel Duchamp, and Arts Editor is Kath Wilhelm; and the first issue, which I’ve just downloaded and had a quick browse through, includes reviews by Duchamp, Rachel Swirsky, Nancy Jane Moore and others. (You can see the full table of contents on the site front page, here.) In fact, at this stage my only quibble is that they indulge that annoying habit of American magazines, that of starting an article on one page and then continuing it on another non-contiguous page. In a print edition, this is irritating; as a PDF, it’s a bit more than that. Still, I wish the CSZ every success. For those who may be interested, the submission guidelines are here.

Loose Ends

1. I’ve put together an index post linking too all the posts of the past week, plus the contexual posts from earlier in the autumn. If you want to link to the poll or discussions, that’s probably the best place to link to now.

2. Matt Denault asked what a top ten that treated book-length series (ie aggregated votes for, say, Bold as Love and Castle Made of Sand) as a single entry would look like:

1. Natural History/Living Next-Door to the God of Love, Justina Robson
2. The Carhullan Army, Sarah Hall
3. Maul, Tricia Sullivan
4. Small Change trilogy, Jo Walton
5. the Time-Traveler’s Wife, Audrey Niffeneger
6= Spirit, Gwyneth Jones
6= Speed of Dark, Elizabeth Moon
8. Bold as Love series, Gwyneth Jones
9. The Castle/Fourlands novels, Steph Swainston
10. The Vorkosigan novels, Lois McMaster Bujold

So new entries for Bujold and Swainston, Walton and Robson move up, and Life, Lavinia and City of Pearl drop out. Treating the two Robson novels as a series is arguable, I grant — they’re a shared universe but share no characters — and if you don’t, Natural History places joint third with Small Change.

3. A couple of dangling links: Tansy Rayner Roberts on Feed by Mira Grant and on The Gene Thieves by Maria Quinn, winner of the first Norma K Hemming Award. The latest Coode St podcast includes a bit of discussion about the list.

4. Follow-up. This obviously isn’t the last word on this topic; I have a few other ideas in mind, but none ready to go just yet.

Chasing the Links

  • Aishwarya Subramaniam talks about her nominations for the Future Classics poll
  • Michael Froggatt on 2017 by Olga Slavnikova
  • Cold Iron and Rowan Wood on The Meat Tree by Gwyneth Lewis, part of Seren Press’ “new stories from the Mabinogion” series.
  • Jonathan McCalmont on The Red Tree by Caitlin R Kiernan and Servant of the Underworld by Aliette de Bodard
  • Tansey Rayner Roberts talks about the new Norma K Hemming Award, for excellence in the exploration of themes of race, gender, sexuality, class and disability in sf published in Australia or written by an Australian citizen
  • Details of the latest Galactic Suburbia podcast
  • David Hebblethwaite on An A-Z of Possible Worlds by AC Tillyer and on Who Fears Death by Nnedi Okorafor
  • Matt Denault on Walking the Tree by Kaaron Warren, and its marketing:

    I wrote at the outset that my two chief frustrations with Walking the Tree involve its outside and its inside. The frustration with the outside is easy enough to describe: the book’s cover. The back cover of my published UK edition contains the instruction to “FILE UNDER: FANTASY” and a quote from Ellen Datlow, best known in recent times for her work editing dark fantasy and horror; the front cover bears a quote from Trudi Canavan, “bestselling author of the Black Magician trilogy,” a fantasy work. Additionally the publisher, Angry Robot, is marketing as similar two more of its books on the back cover: Warren’s debut novel Slights and Aliette de Bodard’s Servant of the Underworld, a dark fantasy. In short, this is a science fiction book by a female author that is being marketed very hard to look like a fantasy book—and a fantasy book for a primarily female audience. This was done, I’m sure, with the best of intentions. But there is a deeply insidious notion about the relationship between women and science that’s suggested by this chosen marketing. Labeling a science fiction book by a female author as fantasy contributes to the fallacious but widespread idea that women don’t write science fiction. This in turn can only reinforce the stereotype that women aren’t any good at science. Parallel to this, to fixate the book’s marketing so squarely on women reinforces that damaging gender paradigm that men’s stories should be of interest to both men and women, while women’s stories should be of interest only to women. The two problems are entwined: men’s stories are important to all because they are seen as real, and thus can be grounded in something real like science; women’s stories are dismissed as fantasy, nothing that could ever happen and so nothing that’s worth treating as actionable. So I’d argue that the book’s marketing, whatever its intentions, is actively, damagingly in opposition to the ideas of the book’s content.

Going Linker

Linking Out