Try This at Home

Old Futures ◽  
2018 ◽  
pp. 164-172
Author(s):  
Alexis Lothian

The second wormhole connects part 2’s chapters on black queer science fiction with the media cultures that part 3 analyzes through an exploration of sexual fantasy as a speculative world-making practice. This short and somewhat personal chapter reads a particularly queer and sexy scene from the science fiction TV show Sense8 (Netflix, 2015-2018), in which telepathically linked characters join sexually from disparate global locations. Sensate sex is a potent metaphor, the hybrid progeny of two sometimes-utopian fantasies: the queer world of public sex (where bodies come together, which anyone can join) and the science fiction of intimate technological connectivity (where physical and spatial boundaries lose their meaning). It functions here to map correspondences between the depictions of gendered spectatorship in Delany’s writings about male public sex cultures and the mostly female fan communities whose erotic fiction-writing practices form a speculative kind of sexual public.

Author(s):  
Francesca Musiani

This essay explores writing practices in a fan community having to give life to a story deprived of an "official" version: the television series Earth 2. I argue that fan fiction writing for this prematurely canceled series exhibits peculiar features in comparison to fan writing for established series: for example, temporality, choice of protagonists, character pairings, and challenges to the original conception(s) of the series. Writing fan fiction for a canceled series is not about creating alternatives to an existing story, but about filling in gaps; it brings to light the ways in which fan fiction deals with closure. I take as a case study Earth 2, a series aired by NBC in the United States in 1994–95, whose first and only season ended in a cliffhanger episode hinting that a mysterious ailment had struck the main and most popular character. Shortly afterward, a significant number of Earth 2 Web sites, online conventions, and especially fan stories started developing; they explored what could have happened next and bore nostalgic but combative mottoes and titles such as "May the Journey Continue." I explore the specific features of Earth 2 fan fiction production and sharing by analyzing the main Earth 2 fan fiction archives on the Web and the responses to my email interviews of fan writers. Exemplars of the Earth 2 case are compared to those of other science fiction TV series, both prematurely canceled (Firefly, Space: Above and Beyond) and long-lived (Babylon 5, Star Trek: Deep Space 9).


2021 ◽  
Vol 73 (01) ◽  
pp. 12-13
Author(s):  
Manas Pathak ◽  
Tonya Cosby ◽  
Robert K. Perrons

Artificial intelligence (AI) has captivated the imagination of science-fiction movie audiences for many years and has been used in the upstream oil and gas industry for more than a decade (Mohaghegh 2005, 2011). But few industries evolve more quickly than those from Silicon Valley, and it accordingly follows that the technology has grown and changed considerably since this discussion began. The oil and gas industry, therefore, is at a point where it would be prudent to take stock of what has been achieved with AI in the sector, to provide a sober assessment of what has delivered value and what has not among the myriad implementations made so far, and to figure out how best to leverage this technology in the future in light of these learnings. When one looks at the long arc of AI in the oil and gas industry, a few important truths emerge. First among these is the fact that not all AI is the same. There is a spectrum of technological sophistication. Hollywood and the media have always been fascinated by the idea of artificial superintelligence and general intelligence systems capable of mimicking the actions and behaviors of real people. Those kinds of systems would have the ability to learn, perceive, understand, and function in human-like ways (Joshi 2019). As alluring as these types of AI are, however, they bear little resemblance to what actually has been delivered to the upstream industry. Instead, we mostly have seen much less ambitious “narrow AI” applications that very capably handle a specific task, such as quickly digesting thousands of pages of historical reports (Kimbleton and Matson 2018), detecting potential failures in progressive cavity pumps (Jacobs 2018), predicting oil and gas exports (Windarto et al. 2017), offering improvements for reservoir models (Mohaghegh 2011), or estimating oil-recovery factors (Mahmoud et al. 2019). But let’s face it: As impressive and commendable as these applications have been, they fall far short of the ambitious vision of highly autonomous systems that are capable of thinking about things outside of the narrow range of tasks explicitly handed to them. What is more, many of these narrow AI applications have tended to be modified versions of fairly generic solutions that were originally designed for other industries and that were then usefully extended to the oil and gas industry with a modest amount of tailoring. In other words, relatively little AI has been occurring in a way that had the oil and gas sector in mind from the outset. The second important truth is that human judgment still matters. What some technology vendors have referred to as “augmented intelligence” (Kimbleton and Matson 2018), whereby AI supplements human judgment rather than sup-plants it, is not merely an alternative way of approaching AI; rather, it is coming into focus that this is probably the most sensible way forward for this technology.


2021 ◽  
Vol 16 (2) ◽  
pp. 529-548
Author(s):  
Anja Zlatović ◽  

The fear of death and the myth of immortality are themes long present in various narratives, whether literary or visual. Science fiction as a genre offers us many venues for new explorations of this idea. Mind uploading is one of them. This fictional technique, related to cloning, is performed when the mind and consciousness of a person are transferred to another biological body or machine with the help of technology. In this way, a person continues their social life through their brain functions. This paper looks at four separate recent screen narratives – the movies Self/less, Transcendence, and Replicas, and the episode “Be Right Back” of the TV show Black Mirror. With the help of Tzvetan Todorov’s structural analysis, we find clauses that are present in all of the plots and see what ideas and topics they share. The paper also uses the idea of anthropological reading of science fiction and therefore uses scientific research to analyze these themes. By looking at anthropological findings of immortality, mortality, death in modern society, and digital techniques, we see how the analyzed narratives portray a unique mixture of fear of and longing for all the mentioned processes and ideas. Finally, this paper shows how science fiction could possibly reflect reality – both through presenting thoughts of society and inspiring future technological advances and ideas (in this case, the quest for immortality). While humans are still far from achieving eternal life, the mentioned screen narratives portray the growing stream of ideas that deal with mind uploading in the age of the internet and social media.


Lexicon ◽  
2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Farhani Nurhusna

The use of sentence fragments is generally discouraged in good English writing because they lack one or more essential components of a sentence, namely a subject and/or a predicate, and thus are grammatically unacceptable. However in fiction writing, the use of sentence fragments is not only quite common in dialogue, but in narration as well. The present study analyses sentence fragments in the narration of the first novel of the young-adult science-fiction trilogy The Hunger Games written by Suzanne Collins, to investigate the types of fragments employed in the novel and their classification based on syntactic structure in the form of dependent-clause fragments and phrase fragments. The sentence fragments were further analysed for their use based on the context of their preceding sentences. The use of sentence fragments in the novel basically serves the function of creating emphasis or stressing important points in the story.


2021 ◽  
pp. 171-175
Author(s):  
A. N. Timokhovich ◽  
O. I. Nikuradze

The article deals with the development of media spaces of virtual fan communities. The aim of the research was to reveal the specifics of online communication of virtual fan communities with the audience. The paper investigates the dialectics of the concepts of fan-community, media space, fandom. The article considers the main approaches to studying media space by Russian and foreign authors. The study describes the traditional offline communication practices of the fandoms. The authors substantiate the problem of the existence of a variety of communication channels of the fan communities with the audience (negative interpretation of content, limitations in monetization and evaluation of the effectiveness of communication practices, the growth of costs for the diversification of content, taking into account the features of different platforms). The paper identifies the trend of centralization of fan communities and the possibilities of technological support of user experience at all stages of the communication process as part of the use of online platform. The article gives an analysis of the media environment and media spaces of South Korea’s fan communities on the example of the South Korean case of the development of the fandom media space in the format of the Weverse mobile application. The study considers the techniques of interaction with the audience in the offline interaction limitations. The authors formulate conclusions about the specifics of the extended functionality of the platform, about the provided ways of organizing the virtual fan media space with the help of the platform; about the coming trend of transferring fan activities into the virtual environment.


2008 ◽  
Vol 24 (1) ◽  
Author(s):  
Gertrud Pfister ◽  
Rikke Schou Jeppesen

Artiklen beskriver og forklarer de forandringer, som sporten har gennemgået, og den indflydelse, som disse forandringer har haft på udøvere og på deres kroppe og images. Der er særlig fokus på mediernes rolle i forhandlingen om konstruktion af ambivalente maskulinitetsformer. Gertrud Pfister & Rikke Schou Jeppesen: Images, Bodies and Masculinities. Media discourses about Ski JumpersToday ski jumping can be considered a typical media sport: it has very few participants and no basis to become a »sport for all« movement. Nevertheless, the few specialists and their main events attract masses of spectators and great media attention. The high demands of skill and strength as well as the danger involved have made ski jumping a typical male sport. Since its beginnings in the 19th century a ski jumper was looked upon as the epitome of »true manhood«. Today ski jumpers are celebrities with fragile egos, skinny bodies, boyish looks, ambivalent masculinities and fan communities of teenage girls. With a constructivist theoretical approach, we will describe and explain the changes that have taken place in ski jumping and the effects of these changes on the athletes, their bodies, their images and their masculinities. The focus will be on the media representation of two German ski jumpers, Martin Schmitt and Sven Hannawald who dominated this sport between 2000 and 2003. Sources are the articles about these athletes in 6 German print media. With a qualitative content analysis, we explore the media coverage of ski jumping and the way the athletes are presented. The correlations between the images and the »doing gender« of the athletes and their presentations in the media along with the role of the media in constructing new and ambivalent masculinities will be the key issues of this article.


Old Futures ◽  
2018 ◽  
pp. 129-163
Author(s):  
Alexis Lothian

Chapter 4 extends part 2’s analysis of queered and gendered black futurities to the realm of racialized queer masculinity, focusing on the work of Samuel R. Delany. His writing provides a bridge between the discourse of “world-making” developed in utopian theories of queer performance and the idea of “world-building” common in science fiction studies. Delany’s fiction shows how the narrative tactics of science fiction, a genre whose most popular literary and media versions have tended to proffer timelines reliant on unmitigated heterosexuality, can turn against assumptions that the future must be straight, or at least arrived at through heterosexual reproductive logics. In Dhalgren (1974) and Stars in My Pocket like Grains of Sand (1984), speculative iterations of 1970s and 1980s public sex cultures use genre tropes to reimagine sexual and racial temporalities in response both to the histories of enslavement and to the beginning of the AIDS epidemic.


2021 ◽  
Vol 12 (2) ◽  
pp. 149-163
Author(s):  
Alice Jacquelin

This chapter examines the case of Eurocops, a crime TV show produced by the European Coproduction Association – composed by one private and six public service broadcasting (PSB) channels of seven European countries – from 1988 to 1994 (71 episodes). Although it is one of the first European co-productions of its kind, Eurocops was a critical and commercial fiasco: what were its faults? Following Ib Bondebjerg’s methodology, this article aims at exploring the failure of this ‘Europudding’. The first section places Eurocops in the media landscape of the late 1980s and explains why this series can be considered as a ‘Europudding’ trying to enforce Europe’s cultural sovereignty against the North American hegemony. The second section analyses how the decentralized PSB production of Eurocops implied the use of an inconsistent narrative structure making the single episodes appear as part of a loose ‘collection’ of crime fiction. This partly explains the lukewarm critical reception of this television programme. The third section examines the cultural meaning of the series and is based on the analysis of the 48 episodes we had access to (through the INA French archives). The lack of transnational ‘encounters’ or dialogues – compared to other more recent cop shows such as The Team, The Killing and The Bridge – reveals the absence of a strong European identity at the time of production.


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