Category: Science Fiction

  • Working Bibliography for Digital Fabrication Module of “A Cultural History of Digital Technology” at City Tech

    This is a 3D print of a Mandelbulb that I created with Mandelbulb3D, Fiji, and meshlab.
    This is a 3D print of a Mandelbulb that I created with Mandelbulb3D, Fiji, and meshlab.

    I’m an NEH Fellow for City Tech’s “A Cultural History of Digital Technology” project. It brings together faculty from across the college to design humanities-course modules and a new course proposal that brings the six modules together. I am contributing to the Digital Fabrication Module of the course curriculum that the team will develop.

    I put together the following bibliography of Science Fiction, critical work, video games, and software as part of my contribution to the project and the upcoming curricular work. Following my bibliography, I have included the preliminary viewings and readings for this module (which were selected before I joined the project as a fellow) for those interested in learning more about these topics.

    Working Bibliography

    Fiction: 3D Printing (chronological)

    Heinlein, Robert A. “Waldo.” Astounding Science Fiction Aug. 1942: 9-53.

    Smith, George O. “Identity.” Astounding Science Fiction Nov. 1945. 145-180.

    Russell, Eric F. “Hobbyist.” Astounding Science Fiction Sept. 1947: 33-61.

    Sheckley, Robert. “The Necessary Thing.” Galaxy Science Fiction June 1955. 55-66.

    Clarke, Arthur C. The City and the Stars. Harcourt Brace/SFBC, 1956.

    Stephenson, Neal. The Diamond Age, or, A Young Lady’s Illustrated Primer. Bantam Spectra, 1995.

    Gibson, William. All Tomorrow’s Parties. Viking Press, 1999.

    Brin, David. Kiln People. Tor, 2002.

    Marusek, David. Counting Heads. Tor, 2005. [expansion of his novella We Were Out of Our Minds with Joy, 1995].

    Doctorow, Cory. “Printcrime.” Nature vol. 439 (12 Jan. 2006): 242.

    Sterling, Bruce. “Kiosk.” The Magazine of Fantasy and Science Fiction Jan. 2007: 68-113.

    Doctorow, Cory. Makers. HarperVoyager, 2009.

    Stross, Charles. Rule 34. Ace Books, 2011.

    Hamilton, Peter F. Great North Road, Macmillan UK, 2012.

    Gibson, William. The Peripheral. G.P. Putnam’s Sons, 2014.

    Newman, Emma. Planetfall. Roc, 2015.

    Robinson, Kim Stanley. Aurora. Orbit, 2015.

     

    Fiction: Fractals (chronological)

    Langford, David. “Blit.” Interzone Sept./Oct. 1988: 40-42.

    Rucker, Rudy. “As Above, So Below.” in The Microverse. Ed. Byron Preiss. Bantam Spectra, 1989. 334-340.

    Shiner, Lewis. “Fractal Geometry.” in The Edges of Things. WSFA Press, 1991. 59.

    Anthony, Piers. Fractal Mode. Ace/Putnam, 1992. [second novel in his Mode series].

    Di Filippo, Paul. “Fractal Paisleys.” The Magazine of Fantasy and Science Fiction May 1992: 72-106.

    Charnock, Graham. “On the Shores of a Fractal Sea.” in New Worlds 3. Ed. David Garnett. Gollancz, 1993. 125-136.

    Luckett, Dave. “The Patternmaker.” in The Patternmaker: Nine Science Fiction Stories. Ed. Lucy Sussex. Omnibus Books, 1994. 3-18.

    Pickover, Clifford A. Chaos in Wonderland: Visual Adventures in a Fractal World. St. Martin’s Press, 1994.

    Turzillo, Mary A. “The Mandelbrot Dragon.” in The Ultimate Dragon. Eds. Keith DeCandido, John Betancourt, and Byron Preiss. Dell, 1995. 167-172.

    Williamson, Jack. “The Fractal Man.” 1996. in At the Human Limit. Haffner Press, 2011. 187-204.

    Leisner, William. “Gods, Fate, and Fractals.” in Strange New Worlds II. Eds. Dean Wesley Smith, John J. Ordover, and Paula M. Block. Pocket Books, 1999. 166-183.

    Thompson, Douglas. Ultrameta: A Fractal Novel. Eibonvale Press, 2009.

    Patrice, Helen. “Mandelbrot Universe.” Dreams & Nightmares no. 92 (May 2012): n.p.

    Strasser, Dirk. “The Mandelbrot Bet.” in Carbide Tipped Pens: Seventeen Tales of Hard Science Fiction. Eds. Ben Bova and Eric Choi. Tor, 2014. 365-378.

     

    Non-Fiction (chronological)

    Snow, C.P. The Two Cultures and the Scientific Revolution. Cambridge UP, 1961.

    Rucker, Rudy. “In Search of a Beautiful 3D Mandelbrot Set.” RudyRucker.com. 5-14 Sept. 1988 (revised 24 Sept. 2009).

    Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. University of Chicago Press, 1999.

    Thurs, Daniel Patrick. “Tiny Tech, Transcendent Tech: Nanotechnology, Science Fiction, and the Limits of Modern Science Talk.” Science Communication vol. 29, no. 1 (Sept. 2007): 65-95.

     

    Video Games (chronological)

    Rescue on Fractalus!, https://en.wikipedia.org/wiki/Rescue_on_Fractalus! and https://archive.org/details/a2_Rescue_on_Fractalus_1985_Lucasfilm_Games_cr_Blade.

    .kkrieger, http://web.archive.org/web/20120204065621/http://www.theprodukkt.com/kkrieger.

    No Man’s Sky, http://www.no-mans-sky.com.

     

    Software

    KPT Bryce 1.0 (1994), https://www.youtube.com/watch?v=MY8GPU5osx4 and https://www.youtube.com/watch?v=ZGLjPYgs8bg and http://kai.sub.blue/en/frax.html and http://fract.al.

    The Mandelbrot Set in HTML5 Canvas and Javascript, http://tilde.club/~david/m/.

    Julia Map, http://juliamap.googlelabs.com/.

    FracalLab, http://hirnsohle.de/test/fractalLab/.

    Paul Lutus, The Mandelbrot Set, http://arachnoid.com/mandelbrot_set/index.html.

     


     

    Preliminary Viewings

    NOVA, “Fractals: Hunting the Hidden Dimension,” http://www.pbs.org/wgbh/nova/physics/hunting-hidden-dimension.html.

    Benoit Mandelbrot TED Talk, Fractals and the Art of Roughness, https://www.ted.com/talks/benoit_mandelbrot_fractals_the_art_of_roughness?language=en.

     

    Preliminary Readings

    Devlin, Keith. The Language of Mathematics: Making the Invisible Visible. W. H. Freeman, 1998. 188-220.

    Flake, Gary. The Computational Beauty of Nature: Computer Explorations of Fractals, Chaos, Complex Systems, and Adaptation. MIT Press, 1998. 59- 110.

    Mandelbrot, Benoit. The Fractal Geometry of Nature. W.H. Freeman, 1983. 4- 38.

    Mandelbrot, Benoit. Fractals: Form, Chance, and Dimension. W.H. Freeman, 1977.

    Samuel, Nina. ed. The Islands of Benoit Mandelbrot: Fractals, Chaos, and the Materiality of Thinking. Bard Graduate Center, 2012.18-56.

     

  • Science Fiction at City Tech

    alan-and-jason-magazines

    An anonymous donor recently gifted a tremendous collection of Science Fiction magazines (complete runs from the 1950s to the present), novels, and criticism to the New York City College of Technology, CUNY (City Tech). Alan Lovegreen and I collaborated on the proposal to acquire the collection and fund its relocation to City Tech’s Library Special Collections and Archives. While the Library prepared space for the 145 boxes of materials, we stored the collection in our two shared office spaces. Now that the space is available in the Archives, we have been moving the materials through the serpentine passages of 300 Jay Street and onto the shelves. So far, we’ve moved over 100 boxes into the Archives, and we anticipate completing the move very soon. To document the collection’s integration into the City Tech Library Archives and promote Science-Fiction-focused initiatives at the college, I created a new website called “Science Fiction at City Tech” on our open-learning platform, OpenLab. Due to the importance of this collection and the possibilities that it opens up for research, teaching, and recruitment, I added a permanent link to the Science Fiction at City Tech site in the menu above. After everything is shelved, I will create a photograph-based temporary finding aid, and the City Tech Library Archives (helmed by Keith Muchowski) will catalog the collection. There are already plans in the works for symposia, student-involvement projects, and more. Stay tuned for updates here and on the Science Fiction at City Tech site for updates.

  • Why Do I Build LEGO Sets Before Creating My Own Models? Thoughts on Haptics and Star Wars Rebels 75053 The Ghost

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    I recently purchased the LEGO Star Wars Rebels 75053 The Ghost set to cannibalize for a MOC project. However, before I parted out the set and sold off the minifigures, I built the set one time and purposefully spread the build time across several days even though the set itself should only take a couple of hours of concentrated build time to complete. Why?

    A personal reason stems from the enjoyment and stress relief that comes from building something with my hands. I see the model take shape as I place brick after brick. I take joy in the innovative techniques employed by the model’s designers. I reflect on the relationship of the model to its source material–in this case, the television program Star Wars: Rebels.

    From a learning perspective, the haptic experience of building the model by following its instructions teaches the builder the process and techniques of the designer. Combined with the builder’s experience gained from model building and creative expression, one can reflect on the model’s design and guess about alternative methods and potential roadblocks encountered by the designer in earlier versions. In a sense, LEGO bricks serve as an interface between builder and designer, and through the interface, the builder learns and imagines new possibilities, which the builder can turn toward future projects. Building, pulling apart, rebuilding, redesigning, and creating forms the basis of a self-perpetuating active learning experience–one that begins guided and ends self-directed.

    By spreading the build across several days, it allowed me to enjoy an extended building experience while giving my brain the space to think about and reflect on the building techniques employed by the sets designers. Had I built the model as quickly as I could have otherwise, I would not necessarily learn as much from the instructions and haptic experience of following the instructions to construct the model.

    Based on my extensive first-hand experience as a LEGO builder and an educator who uses LEGO in his Technical Writing and Science Fiction classes, the transition from guided to self-directed learning is one of the powerful characteristics of LEGO as a learning platform. Furthermore, its orientation as a technology of play opens engagement and enables learning that is fulfilling because of the enjoyment that it can bring about (of course, LEGO might not be for everyone and the source of enjoyment in learning differs from person to person–as with the projection learning with lecture and PowerPoint, or other forms of active learning exercises, I propose that LEGO is another tool in the educator’s toolbox that can be used, repurposed, hacked, etc. as the case and need arises).

    Before I disassemble The Ghost, here are some images of a nice model that accurately captures its source while adding play elements that fans of the series–young and old–will likely enjoy.

  • Customized LEGO Star Wars Millennium Falcon 75105 from The Force Awakens

    Customized LEGO Star Wars Millennium Falcon 75105

    Introduction

    After watching Star Wars Episode VII The Force Awakens for the first of four times (so far), I purchased the new LEGO Millennium Falcon 75105 (LEGO website page and Brickset model page). It is a wonderfully designed model that balances play with detail. This latest Falcon model from LEGO captures how the passage of time and change of hands has affected this storied ship’s appearance in the film. Despite the interior and exterior greebling, the layout of the Falcon is spacious and accommodating for customization by the LEGO builder. It was my intention to customize the Falcon to be more screen accurate in the main hold and cockpit, and more detailed in the engine compartment and rear storage/bunk spaces. Through the process of customization, I worked on the exterior dorsal and ventral sides (including an improvement to the boarding platform. Below, I offer some explanation and photos for each before and after stage of my customization, including the cockpit, exterior dorsal, exterior ventral, interior fore, and interior aft.

    Cockpit, Before Customization

    The original cockpit accommodates two minifigures–one sitting forward on the right (pilot) and one sitting one row behind on the left (copilot). It comes with a single lever for control and a printed wedge brick with cockpit controls. Due to the conical elements used for the cockpit, space is extremely limited. However, the rear of the cockpit has a strange design that is not evocative of the rear of the cockpit, which would have controls, lights, and a door. I targeted these issues in my customization seen below.

    Customized LEGO Star Wars Millennium Falcon 75105

    Cockpit, After Customization

    In my customization of the cockpit interior, I raised the control panel by one plate and gave the pilot and co-pilot handle-bar controls like in the films. Above the directional control bars, there are three adjustable levels sitting on top of the printed control panel wedge brick for controlling the engines.

     Exterior Dorsal, Before Customization

    These images are of the Falcon’s exterior before any customization. Of note, the Millennium Falcon’s fore running lights are red instead of clear (a change depicted in The Force Awakens), and a less clean exterior to illustrate its aging and modifications.

    Exterior Dorsal, After Customization

    The one external element that I wanted to accentuate as much as possible was the slightly raised panels above the rear quarter over the engines. This was easily accomplished by adding a single plate above the hinge for each sectional panel, and adding a single plate height to half of the bordering panels. The latter, however, also required finding 1×3 flat plates for the segmented panels as seen below.

    Exterior Ventral, After Customization (no Before photos taken)

    Originally, the boarding platform does not have hydraulic lifters and the bottom of the Falcon is largely exposed to the Technic beams that form the support skeleton for the model. I added the lifters and covered much of the bottom (more can be done when I have the bricks available to accomplish a better approximation of the Falcon’s bottom exterior (angled forward pods and rear hold pod beneath the engines).

    Interior Fore, Before Customization

    The 75105 Millennium Falcon model continues the innovative “petal” design forming the dorsal fuselage of the spacecraft, which first appeared in the 4504 set and was improved in the 7965 set. The best change from the earlier designs is for the forward bisecting panel leading from the mandibles to the gun turret. Instead of opening up toward the turret (4504) or opening forward toward the mandibles (7965), the panel now swings forward and down between the mandibles thus giving easier access to the builder for play inside the Falcon. The navigational computer is more accurately captured with a sticker applied to a flat plate than printed wedge bricks in 7965, and the Dejarik table is printed on a round shield element. My complaints with the interior design have to do with the inaccuracy of the placement of the Dejarik table/benches and bunks. I focused on this in my customization.

    Interior Fore, After Customization

    In my customization, I moved the Dejarik table and benches across from the navigation computer, which required rebuilding part of the mandible supports and the swing components for the center panel (to clear the center bench back). I relocated one of the bunks to the end of the hold to create the medibay where Finn bandages Chewbacca’s arm. In the main hold, I constructed a forward wall with panel details taken from the First Order Snowspeeder 75100 set.

    Interior Aft, Before Customization

    The engine compartment in the rear of the model is similar to the one in 7965. This part of the Falcon captures the junked essence of the Falcon in general and the effects of the passage of time and unkind handling of the Falcon depicted in The Force Awakens. I wanted to keep its garbage appearance while giving the engine compartment greater substantiality.

    Interior Aft, After Customization

    In the rear hold/engine compartment, I constructed two storage rooms/bunks with swinging doors (I would have preferred to have sliding doors but I don’t have the elements to do this while conserving the limited space available), and I designed additional mirrored engine modules that go on either end of the original engine included with the set, which I hope makes the engine look more substantial for a spacecraft capable of completing the Kessel Run in 14, er, 12 parsecs!

    Conclusion

    I hope to further customize the 75105 Millennium Falcon. As I acquire new bricks and elements, I would like to think about how to better integrate the engines into the design and aesthetic of the YT transport. Other goals include, integrate a mechanism for lowering and raising the boarding platform, similar to the 4504 set, design screen accurate landing gear that raise the Falcon by at least one plate higher while on display, and further integrate my customization into the model so that it attains a unity of design instead of a piecemeal added-on quality.

    If you have customized the 75105 or other Millennium Falcon sets, please sound off in the comments. Thanks for stopping by!

    Photos updated on 4 Jul. 2024.

  • Before Cyberpunk: Science Fiction and Early Personal Computing (for the 13th City Tech Poster Session)

    ellis-40x31_poster-template-landscape

    For the New York City College of Technology, CUNY’s 13th Annual Research Poster Session, I created the poster embedded above to illustrate my current research on pre-cyberpunk science fiction (SF) about computing and personal computing. The poster discusses my focus and provides a timeline with SF about computing matched with key technological innovations that made the personal computing revolution in the late-1970s possible.

    What I am interested in is the fact that William Gibson’s “cyberspace” captured the popular imagination about the metaphorical place where computing, processing, navigating, interacting, and communicating occurs, but some of the very good SF about computing that predates Gibson’s coining the term cyberspace failed to leave an indelible impression. Certainly, these stories were read and circulated, but the reach of their images and metaphors seem to have been limited in scope as compared to Gibson’s writing.

    One of the ideas that I have had since creating the poster is that the idea of hidden computing or outlaw computing is something central to Vernor Vinge’s “True Names.” This, of course, features large in Gibson’s fictions, and it is the image that I am looking for in other SF of this transitional era.

    At the poster session, I will carry my Raspberry Pi-based touchscreen-computer-in-a-Suntory-box-from-Japan to demonstrate the idea of hidden computing. I will post a step-by-step instruction post soon about assembling the Raspberry Pi-based computer and offer some additional thoughts about how I would like to use them in my technical communication classes.

    In this post, I want to provide some of my notes and links to relevant resources as a record of the initial research that I did in preparation of this poster. It is my hope that it might lead to conversations and collaborations in the future.

     

    Fiction Sources

    Murray Leinster’s “A Logic Named Joe” (1946): Home computers connected to a large scale network. [Couldn’t fit within poster dimensions, but a significant work that needs mentioning.]

    Isaac Asimov’s “The Fun They Had” (1951): Children discovering a print book are agog at what it represents while their classroom/desktop teaching computers flash mathematical fractions at them. [Couldn’t fit within poster dimensions, but another important work in this genealogy.]

    Poul Anderson’s “Kings Who Die” (1962): Human-computer interface, according to Asimov and Greenberg in The Great SF Stories #24, “one of the first stories to address this question” (69).

    Daniel F. Galouye’s Simulacron-3 (1964): Also published as Counterfeit World. Adapted as Welt am Draht/World on a Wire (1973). Simulated reality for artificial beings programmed to believe (except in the case of one character) that they are real and living in the “real world.”

    Philip K. Dick’s A Maze of Death (1970): A crew in a disabled spacecraft while awhile their remaining lives in a computer generated virtual world.

    John Brunner’s The Shockwave Rider (1975): Computer programming and hacking. First use of the term “worm” to describe a type of self-propagating computer program set loose on the computer network. Protagonist as outlaw.

    [Five year gap during the personal computing revolution. Were the SF writers playing with their new personal computers?]

    John M. Ford’s Web of Angels (1980): The “Web” is a communication and computing network connecting humanity. “Webspinners” are an elite group of programmers who can manipulate the Web in unique and unexpected ways. Protagonist as outlaw.

    Vernor Vinge’s “True Names” (1981): Computing power hidden from view of a watchful government–literally under the floor boards. Early MMORPG/virtual reality experience of what was later called cyberspace. Protagonist as outlaw.

    Damien Broderick’s The Judas Mandala (1982): First SF to use the terms “virtual reality” and “virtual matrix.” Protagonist as conspirator/outlaw?

     

    Nonfiction Sources

    Cavallaro, Dani. Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson. New Brunswick, NJ: Athlone Press, 2000. Print.

    Ferro, David L. and Eric G. Swedin. Eds. Science Fiction and Computing: Essays on Interlinked Domains. Jefferson, NC: McFarland, 2011. Print.

    Kay, Alan C. “A Personal Computer for Children of All Ages.” ACM ’72 Proceedings of the ACM Annual Conference – Volume 1. New York: ACM, 1972. n.p. Web. 18 Nov. 2015.

    Mowshowitz, Abbe. Inside Information: Computers in Fiction. Reading, MA: Addison-Wesley, 1977. Print.

    Murphy, Graham J. and Sherryl Vint. Beyond Cyberpunk: New Critical Perspectives. New York: Routledge, 2010. Print.

    Slusser, George Edgar and TA Shippey. Eds. Fiction 2000: Cyberpunk and the Future of Narrative. Athens: University of Georgia Press, 1992. Print.

    Stableford, Brian. Science Fact and Science Fiction: An Encyclopedia. New York: Routledge, 2006. Print.

    Timeline of Computer History. Computer History Museum, 2015. Web. 18 Nov. 2015.

    Warrick, Patricia. The Cybernetic Imagination in Science Fiction. Cambridge: MIT, 1980. Print.