The Seven Beauties of Science Fiction

Notes

Notes introduction Science Fiction and This Moment (pages 1–12) 1. Paul Simon, “The Boy in the Bubble.” Graceland. Warner Brothers, 1986. 2. Gary Westfahl, “On The True History of Science Fiction,” Foundation 47 (Winter 1989– 1990): 5–27. 3. David A. Grandy, Leo Szilard: Science as a Mode of Being (Lanham, Md: University Press of America, 1996), 29. 4. Mark Pesce, “Magic Mirror: The Novel as Software Development Platform.” Presented at the Media in Transition conference at MIT, 1999; web.mit.edu/m-i-t/articles/ pesce.html. See also this volume’s chapter “Fourth Beauty.” For further discussion of the influence of cyberpunk on hacker culture, see the chapter “Second Beauty.” 5. Darko Suvin, Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre (New Haven, Conn.: Yale University Press, 1979), 63–84. Novums are the subject of this volume’s chapter “Second Beauty.” 6. Gwyneth Jones, Deconstructing the Starships: Science, Fiction, and Reality (Liverpool: Liverpool University Press, 1999), 114. 7. David E. Nye, The American Technological Sublime (Cambridge, Mass.: MIT Press, 1994). 8. Scott Bukatman, Terminal Identity: The Virtual Subject in Postmodern Science Fiction (Durham, N.C.: Duke University Press, 1993); Vivian Sobchack, Screening Space: The American Science Fiction Film (New Brunswick, N.J.: Rutgers University Press, 1997); Brooks Landon, The Aesthetics of Ambivalence: Rethinking Science Fiction Film in the Age of Electronic (Re)Production (Westport, Conn.: Greenwood Press, 1992); Gary K. Wolfe, Soundings: Reviews, 1992–1996 (Baltimore: Old Earth Press, 2005); John Clute, Look at the Evidence: Essays and Reviews (Liverpool: Liverpool University Press, 1995); Stanis¬aw Lem, Microworlds: Writings on Science Fiction and Fantasy, ed. Franz Rottensteiner (San Diego, Calif.: Harcourt Brace Jovanovich, 1984); Joanna Russ, The Country You Have Never Seen: Essays and Reviews (Liverpool: Liverpool University Press, 2007); Ursula K. Le Guin, Dancing at the Edge of the World: Thoughts on Words, Women, Places (New York: Grove Press, 1989); Jones, Deconstructing the Starships. Bruce Sterling’s articles have been archived at The Bruce Sterling Online Index http://www.chriswaltrip.com/sterling/. 9. Landon, Aesthetics of Ambivalence, 110–111. See also Brian Stableford, “The Third Generation of Genre Science Fiction,” Science Fiction Studies 23, no. 3 (November 1996): 321–330. 10. Work in this area is just getting started. Pacesetting articles appeared by Mark Dery in Keyboard magazine on cyberpunk in May 1989 and August 1990, and science-fictional attitudes regularly inform the reviews and articles of the United Kingdom–based magazine The Wire. In 1999, the journal of the British Science Fiction Fan Association, Vector, published a five-part overview of sf’s role in twentieth-century music, “The Music of the 267 Spheres”: Ian J. Simsdon, “Part One: The Influence of SF on Modern Popular Music,” Vector 203 (January–February 1999); Tonya Brown, “Classical Music and Science Fiction ,” Vector 204 (March–April 1999); Gary S. Dalkin, “Part Three: Science Fiction Film Music,” Vector 205 (May–June 1999); Davis H. Wood, “Part Four: Jazz and Science Fiction ,” Vector 205 (July–August 1999); and Andrew Darlington, “Part Five: Standin’ at the Crossroads: SF and Robert Johnson’s Blues,” Vector 206 (September–October 1999). In the same year, Kodwe Eshun published his seminal book on Afrofuturist music, more brilliant than the sun: adventures in sonic fiction (London: Quartet, 1999). On sf-film scores, see Philip Hayward, ed., Off the Planet: Music, Sound and Science Fiction Cinema (London: John Libbey Publishing/Perfect Beat Press, 2004). On recent trends, see Ken McLeod, “Space Oddities: Aliens, Futurism and Popular Music,” Popular Music 22, no. 3 (October 2003): 337–355; and Karen Collins, “Dead Channel Surfing: The Commonalities between Cyberpunk Literature and Industrial Music” Popular Music 24, no. 2 (2005): 165–178. first beauty Fictive Neology (pages 13–46) 1. Roman Jakobson, “Linguistics and Poetics,” in Language in Literature, ed. Krystyna Pomorska and Stephen Rudy, (Cambridge, Mass.: Belknap Press, 1987), 69–71. 2. See Jean-Claude Boulanger, “La création lexicale et la modernité,” Le langage et l’Homme 25, no. 4 (1990): 233–239; Florian Coulmas, ed., Language Adaptation (Cambridge: Cambridge University Press, 1989; Alan Ray, Essays on Terminology, trans. And ed. Juan C. Sager (Philadelphia: John Benjamins, 1995); Louis Déroy, “La néologie,” La Banque des mots 1 (1971): 5–12; Jacques Maurais, “Terminology and Language Planning,” in Terminology .Applications in Interdisciplinary Communication, Helmi B. Sonneveld and Kurt L. Loening (Philadelphia: John Benjamins, 1993), 111–125; Silvia Pavel, “Neology and Phraseology as Terminology-in-the-Making,” in Terminology, ed. Sonneveld and Loening, 21...