Epilogue

Author(s):  
Jared S. Buss

Willy Ley died of a heart attack just weeks before the lunar landing in July 1969. This epilogue describes the reactions of his family and friends, who mourned his loss amid the broader celebration of Apollo 11. It also recounts the successful efforts to name a Moon crater in his honor. Whereas most craters bear the names of scientists or science fiction writers, Ley became the first citizen on the Moon after spending most of his life as an outsider to the centers of research and development. Despite his outsider status, he had done so much to engineer the Space Age. The book closes with reflections on his legacy as a spaceflight advocate.

Author(s):  
Roslyn Weaver

This chapter discusses the history of popular fiction in Australia. The question of place has always been central to Australian fiction, not only as a thematic element but also as a critical or political preoccupation. In part, this is because popular fiction writers, wanting to attract broad audiences, either exploited their Australian content to appeal to international readers or have excised the local to produce a generic and thus more readily accessible setting for outsiders. The chapter considers works by popular fiction writers who adopt a range of positions in relation to their focus on place, but often tackle many different aspects of Australian social and historical change. These novels cover various genres such as crime fiction, historical fiction and romance, science fiction and fantasy, and include Fergus Hume's The Mystery of a Hansom Cab (1886), Nevil Shute's On the Beach (1957), Damien Broderick's The Dreaming Dragons (1980), and Cecilia Dart-Thornton's The Ill-Made Mute (2001).


2019 ◽  
pp. 119-150
Author(s):  
Marissa K. López

Chapter 4 opens with a discussion of the mass graves of unidentified immigrants discovered in South Texas in 2014. How, confronted with these decayed, dismembered border bodies, can literature and art move us beyond horror into a more just tomorrow? To answer, the author turns to two Chicanx science fiction novels: Morales’s The Rag Doll Plagues (1992) and Pita and Sánchez’s Lunar Braceros (2009). Morales’s novel begins in colonial Mexico with a tale of La Mona, an unidentified plague similar to AIDS, and ends in a Los Angeles of the future, now known as LAMEX, beset by a similar disease curable only by the infusion of blood from “pure” Mexicans and threatened by waves of trash, which have taken on the characteristics of an animated organism, rolling in from the Pacific. Lunar Braceros, about nuclear waste workers of the future living on the moon, presents trash as a similarly transformative threat. Both novels offer conflicted visions of the human body as simultaneously of and apart from the land, a vulnerable but powerful catalyzing agent for change. The author frames this chapter with analyses of works in Mexican Canadian digital installation artist Rafael Lozano-Hemmer’s Relational Architecture series.


Author(s):  
Jared S. Buss

This chapter follows Ley during his early twenties, when he became an intermediary between specialized experts and the general public. Ley constructed his persona as a freelance writer and journalist, who could translate complex concepts for a broader audience in Weimar Germany. This chapter explores Ley’s entrance into rocketry clubs, amateur science, and circles of journalists during Weimar’s rocketry fad. It concludes with an analysis of his role in the ground breaking science fiction film, Woman in the Moon (1929).


2018 ◽  
pp. 73-92
Author(s):  
Gary Westfahl

Unlike other science fiction writers, this chapter explains, Clarke rarely envisions humanity colonizing interstellar space and forging a galactic empire, anticipating limitations on human development. Though unconcerned about nuclear wars or alien invasions, Clarke regularly predicts humanity’s extinction, due to climate change or competing new species, or long periods of decadence. If humans avoid these fates, evolution may transform them into a new species, unlike present-day humans. Such scenarios unfold in Clarke’s major novels about humanity’s destiny: in Against the Fall of Night (1953), revised as The City and the Stars (1956), residents of an unchanging future city rediscover their ambitions but still face eventual demise; and in Childhood’s End (1953) humans guided by alien Overlords become a group intelligence to join a transcendent Overmind.


Author(s):  
Brad Morantz

Artificial intelligence is the stuff of science fiction writers, robots taking over the world, and computers knowing our every thought and action. Advanced methodologies is the utilization of accepted artificial intelligence programs in mathematical applications to solve a variety of problems. In this chapter, many of these methods will be described and sample applications provided to better explain the advantages of this method in problem solving.


Author(s):  
Varuna Godara

Pervasive computing is trying to make the dreams of the science fiction writers come true—where you think of some type of convenience and you have it. It appears that pervasive computing is allowing tiny computers, sensors, networking technologies, and human imagination to blend and mould into new products and services. This chapter introduces pervasive computing, grid computing, and ambient intelligence with explanation of how these technologies are merging to create sensor embedded smart environments. Along with description and scope of e-business and m-business, different views of p-business are illustrated. Finally, different smart environments including smart consumer-to-consumer, smart value systems, smart p-education, p-governance, and so forth, are explained.


Author(s):  
Jeremy Withers

This chapter examines how the rising popularity since the 1990s of works of postapocalyptic cli-fi (i.e. climate change fiction) has provided science fiction writers a convenient opportunity to explore issues of mobility and transportation. After first examining an early postapocalyptic cli-fi work from the 1990s by Octavia E. Butler, the chapter then advances this book’s chronological analysis to some twenty-first century works of science fiction. In its discussion of a novel by Paolo Bacigalupi and one by Benjamin Parzybok, this chapter shows how more restrained modes of transport play a vital role during times of apocalypse in keeping a society functioning and keeping us as individuals from slipping into disempowerment.


Author(s):  
Allison de Fren

Georges Méliès (born Marie-Georges-Jean Méliès) was a French showman, illusionist, and filmmaker best known for his early silent fantasy and science fiction films, such as Trip to the Moon (1902) and Impossible Voyage (1904). While most early films were actualities, he took an innovative, non-realist approach to the medium, employing its unique capacities for altering space and time to produce allegorical and dream imagery. He is sometimes called the first cinemagician due to his pioneering work in special effects, including the stop-trick film, double exposure, split screen, dissolve, and superimposition. Méliès launched his entertainment career as a magician in the arcades of late 19th-century Paris. In 1888 he purchased the Théâtre Robert-Houdin, the most famous magic theater at the time, which came complete with stage props, illusions, automata (whose parts he used to build his first film camera), and performers, including Jeanne d’Alcy, who became his muse, long-time mistress, and second wife. The performance skills that he developed in the theater were later incorporated into filmmaking, an occupation that he began pursuing passionately after attending the première screening of the Lumière brothers’ Cinématographe at the Grand Café in 1895. A year later, he helped to found the Star Film Company and built what is considered the first film studio of the silent period, whose main stage area featured a steel frame surrounded by glass walls to capture the sunlight.


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