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Friday, June 2, 2023

Nanotechnology in fiction

From Wikipedia, the free encyclopedia

The use of nanotechnology in fiction has attracted scholarly attention. The first use of the distinguishing concepts of nanotechnology was "There's Plenty of Room at the Bottom", a talk given by physicist Richard Feynman in 1959. K. Eric Drexler's 1986 book Engines of Creation introduced the general public to the concept of nanotechnology. Since then, nanotechnology has been used frequently in a diverse range of fiction, often as a justification for unusual or far-fetched occurrences featured in speculative fiction.

Notable examples

Literature

In 1931, Boris Zhitkov wrote a short story called Microhands (Микроруки), where the narrator builds for himself a pair of microscopic remote manipulators, and uses them for fine tasks like eye surgery. When he attempts to build even smaller manipulators to be manipulated by the first pair, the story goes into detail about the problem of regular materials behaving differently on a microscopic scale.

In his 1956 short story The Next Tenants, Arthur C. Clarke describes tiny machines that operate at the micrometre scale – although not strictly nanoscale (billionth of a meter), they are the first fictional example of the concepts now associated with nanotechnology.

A concept similar to nanotechnology, called "micromechanical devices", was described in Lem's 1959 novel Eden These devices were used by the aliens as "seeds" to grow a wall around the human spaceship.  Stanislaw Lem's 1964 novel The Invincible involves the discovery of an artificial ecosystem of minuscule robots, although like in Clarke's story they are larger than what is strictly meant by the term 'nanotechnology'.

Robert Silverberg's 1969 short story How It Was when the Past Went Away describes nanotechnology being used in the construction of stereo loudspeakers, with a thousand speakers per inch.

The 1984 novel Peace on Earth by Stanislaw Lem tells about small bacteria-sized nanorobots looking like normal dust (developed by artificial intelligence placed by humans on the Moon in the era of cold warfare) that has later came to Earth and are replicating, destroying all weapons, modern technology and software, leaving living organisms (as there were no living organisms on the Moon) intact.

The 1985 novel Blood Music by Greg Bear (originally a 1983 short story) features genetically engineered white blood cells that eventually learn to manipulate matter on an atomic scale.

The 1991 novelization of Terminator 2: Judgment Day, authored by Randall Frakes, expands the origin story of the T-1000 Terminator through the inclusion of a prologue set in the future. It is explained that the T-1000 is a 'Nanomorph', that was created by Skynet, through the use of programmable Nanotechnology. This was only implied in the film itself.

The 1992 novel Assemblers of Infinity is a science-fiction novel authored by Kevin J. Anderson and Doug Beason. The plot line makes specific mention of nano-assembly and nano-disassembly robots, along with admonitions regarding the dangers that these bacteria-sized machines might pose.

In Kim Stanley Robinson's Red Mars (1992), the extraordinary tensile strength of carbon nanotubes is used to create a tether for a space elevator, which connects Mars to an asteroid that has been led into orbit around the planet. The space elevator speeds travel of people and materials between Earth and Mars, but creates tension between factions — and is later destroyed.

Neal Stephenson's 1995 novel The Diamond Age is set in a world where nanotechnology is commonplace. Nanoscale warfare, fabrication at the molecular scale, and self-assembling islands all exist.

The morphing technology in Animorphs is described as a form of nanotechnology that allows its users to transform into other animal and alien species, as well as members of their own species.

The Trinity Blood series features an alien nanomachine found on Mars which is present in the body of the protagonist, Abel Nighroad. These nanomachines are known as Krusnik nanomachines, and feed on the cells of vampires.

Nanobots (called Nanoes) are central to Stel Pavlou's novel Decipher (2001).

Michael Crichton's novel Prey (2002) is a cautionary tale about the possible risks of developing nanotechnology. In Prey, a swarm of molecule-sized nanorobots develop intelligence and become a large scale threat.

Robert Ludlum's 2005 novel The Lazarus Vendetta also focuses around nanotechnology, focusing mainly on its ability to cure cancer.

The 2006 children's novel The Doomsday Dust (book 4 in the Spy Gear Adventures series by Rick Barba) features a nanite swarm as the villain.

A nanomorph, term first coined by science fiction writer David Pulver in 1986's GURPS Robots, is a fictional robot entirely made of nanomachines. Its brain is distributed throughout its whole body, which also acts as an all-around sensor, hence making it impossible to surprise as long as the target is on line of sight. A nanomorph is arguably the robotic ultimate in versatility, maybe even in power. Further uses of the concept could include using parts of its body as a tracking device, splitting the body for doing several tasks, or merging two nanomorphs in a greater one, or else gliding/flying in an ornithopter-like way (by molding itself like a giant, articulated kite). A common but facultative (without this feature, it would still qualify as a nanomorph) improvement is the ability to cover itself with specific colors and textures in a realistic looking manner (the ultimate being to look like a human, à la doppelgänger).

Film and television

One of the first mentions on a television show was an announcement to students over the school loudspeakers in the 1987 Max Headroom episode, "Academy" that, "Nanotechnology pod test results are posted in the Submicron Lab for your viewing."

The anime series Ghost in the Shell: Stand Alone Complex employs a plotline heavily involved in the use of "micromachines" as a form of treatment against complex diseases after a subject undergoing cyberisation.

In the Star Trek universe, from Star Trek: The Next Generation onward, the Borg use nanomachines, referred to as nanoprobes, to assimilate individuals into their collective. In another episode, an experiment by Wesley Crusher gone awry led to nanites developing a collective intelligence and interfering with ship systems, eventually being deposited on a planet to establish their own civilization.

On the television show Red Dwarf, nanobots played a notable role in series VII to IX. Nanobots are nanotechnology created to be a self-repair system for androids like Kryten as they can also change anything into anything else. Kryten's nanobots grow bored of their duties and take over the ship Red Dwarf, leaving the crew to try and recapture it aboard the smaller Starbug. In the end the ship they are chasing is actually a smaller Red Dwarf built by the nanobots (which evaded their scanners in the end by coming aboard Starbug), with the rest being changed into a planet. Once the crew discover this and find the nanobots, they force them to rebuild Red Dwarf (as well as Dave Lister's then-missing arm). In the end the nanobots build an enhanced Red Dwarf based on the original design plans. They also resurrect the original full crew killed in the first episode.

The episode The New Breed of the show Outer Limits featured nanobots.

Nanobots were also featured during the Sci-Fi Channel era of Mystery Science Theater 3000, where they were known as "nanites". They were depicted on the show as microscopic, bug-like, freestanding robots with distinct personalities.

Nanotechnology appeared several times in the TV series Stargate SG-1 and Stargate Atlantis, in the form of the replicators and the Asurans, respectively. A "nanovirus" is also seen in Stargate Atlantis.

In Cowboy Bebop: The Movie (2001), a criminal blows up a tanker trunk containing a nanobot virus that instantly kills thousands.

In the 2003 film Agent Cody Banks, a scientist creates nanobots programmed to clean up oil spills.

In the 2004 film I, Robot, nanites are used to wipe out artificial intelligence in the event of a malfunction and are depicted as a liquid containing tiny silver objects.

In the 2005 Doctor Who television episode "The Empty Child/The Doctor Dances" a metal cylinder falls from space and lands in World War II-era London, releasing nanobots which transform every human they come into contact with into gas mask-wearing zombies, like the first human they encountered, a gas mask-wearing child.

In the 2008 film The Day the Earth Stood Still, the alien robot "GORT" disintegrates into a swarm of self-replicating nanobots shaped like bugs that cover Earth and destroy all humans and artificial structures by seemingly devouring them within seconds.

The revamped Knight Rider television series and TV movie incorporate nanotechnology into the Knight Industries Three Thousand (KITT), allowing it to change color and shape, as well as providing abilities such as self-regeneration.

In the 2009 film G.I. Joe: The Rise of Cobra, the main plot is to save the world from a warhead containing deadly nanobots called the "Nanomites", which if detonated over a city could destroy it in hours.

The popular NBC science fiction show, Revolution, is based on a worldwide blackout due to the manipulation of nanotechnology.

In 2010 Generator Rex was shown on Cartoon Network. It was based on a laboratory experiment going wrong and infecting the world with bad "Nanites" which turned people into monsters known as E.V.Os.

In the Ben 10 series, there is a nanotechnology-based alien species called Nanochips, who first appeared in the live-action movie Ben 10: Alien Swarm.

Nanotechnology is featured heavily within the Terminator film series. The 1991 film Terminator 2: Judgment Day and 2015 film Terminator: Genisys feature the T-1000 terminator. The T-1000 is composed of Mimetic Polyalloy, a liquid metal that utilizes nanites for shapeshifting abilities; Giving the T-1000 the ability to mimic anyone it samples through physical contact. It can also form its arms into blades and stabbing weapons and instantly recover from any damage. In the 2003 film Terminator 3: Rise of the Machines a new terminator, the T-X, also utilities Mimetic Polyalloy for shapeshifting abilities; like the T-1000 it can mimic anyone it touches. The T-X is also equipped with nanotechnological transjectors, and can infect and control other machines using nanites.

In Terminator Genisys, human resistance leader John Connor is infected with "machine phase matter" by a T-5000 terminator, transforming John into a "T-3000". The T-3000, like the T-1000 and T-X units, has shapeshifting and replication abilities. This unit's deadly structure gives the T-3000 the unique ability to instantly scatter into particles and then quickly reform to avoid harmful impact as well as instantly recovering from damage.

In the 2014 film Transcendence, the uploaded consciousness of Will Caster (Johnny Depp) uses nanotechnology to turn himself, and the local townsfolk, into a self-healing defense force with superhuman strength.

In Venture Brothers Season 6 Episode 3 "Faking Miracles" a laboratory accident leads nanobots to enter Dean Venture's body. Billy Quizboy and Peter White take remote control of the nanobots, inadvertently torturing Dean to showcase the power of the nanobots to Dr. Venture. Eventually they are used, unbeknownst to Dean, to improve his intelligence so that he can pass an entrance examination for college. In the post-credit scene Dean painfully urinates them out like a set of kidney stones.

Nanotechnology is featured in the Marvel Cinematic Universe (MCU):

Computer games

In PlanetSide and PlanetSide 2, nanites are used to fabricate weapons, vehicles, structures, equipment, and even resurrect human bodies. The development of rebirthing technology has allowed soldiers achieve immortality by downloading their consciousness into a new body composed entirely of nanites.

In Rise of the Robots and Rise 2: Resurrection, A nanomorth features a gynoid known as the Supervisor which composed of Chromium element, a liquid metal that utilizes nanites for shapeshifting abilities and a hive mind constructed from trillions of nanobots in a sealed central chamber within Metropolis 4 . Due to the corruption of the EGO virus which infect the Supervisor, she now controls the Electrocorp and all other machines in Metropolis 4.

In Total Annihilation nanobots are used to build structures.

In some games of the Mortal Kombat series, the character Smoke is a cloud of nanobots.

In System Shock 2 (1999), "nanites" are used as currency as well as a type of weapon ammo.

In Deus Ex (2000), nanotechnology is an important part of both the plot and game mechanics. A very dangerous technology in the wrong hands, it provides a number of superhuman abilities to the protagonist along with novel approaches to weaponry such as the coveted Dragon's Tooth Sword.

The MMORPG Anarchy Online (launched 2001) is set on a planet with well-developed nanotechnology, which generally is used as magic in fantasy-themed games.

In Metal Gear Solid (1998) the protagonist got nanomachines to supply and administer adrenalin, nutrients, sugar, nootropics, and benzedrine and to recharge a Codec's battery. The protagonist of Metal Gear Solid 2 (2001) had artificial blood infused with nanomachine that served functions such as healing. Metal Gear Solid 4 (2008) featured a great deal of nanotechnology, such as the Sons of the Patriots, an artificial intelligence/nanomachine network that regulated and enhanced the actions of every lawful combatant in the world. In Metal Gear Rising Revengeance (2013) the main antagonist Senator Armstrong also augments himself with nanotechnology.

In Red Faction (2001), nanotechnology is used on Mars to control miners, and Red Faction Guerilla (2009) features nanotechnology, in particular a device called the Nano Forge, as a major plot point.

The computer game Hostile Waters features a narrative involving nanotech assemblers.

In the Ratchet & Clank series, the health system involves nanotechnology. The nanotech can be upgraded by purchase in the first game, or by defeating enemies in other games of the series.

Nanotechnology is also found in Crysis (2007), Crysis 2 (2011), and Crysis 3 (2013). The protagonists of these games are equipped with a "Nano Suit", which enables them to become stronger, invisible, heavily armored, etc.

In Marvel: Ultimate Alliance 2 (2009), Reed Richards creates nanites that are meant to control the minds of supervillains. However, the nanites evolve into a group mind called the Fold which serves as the primary antagonist for the game.

In SpaceChem the player has to build molecular assembler/disassemblers using nanomachines called "Waldos" controlled by a visual programming language.

The Distant Stars expansion for Stellaris heavily features nanotechnology in many aspects.

Comics and other media

In the manga series Battle Angel Alita: Last Order, nanotechnology is referenced numerously and its use is heavily restricted, owing to the loss of Mercury as a potential planetary colony due to a grey goo catastrophe. Its danger and control has become one of the main driving narratives in the story.

In Dx13: Nano A Mano - a manga series by Kirupagaren Kanni - the protagonist uses nanobots to create a giant mecha, which is remotely controlled by custom-built equipment such as electronic glove, microphones, cameras, etc.

Nanomites appear in the G.I. Joe Reinstated series published by Devil's Due.

In the anime and manga series Black Cat, Eve has the ability to manipulate nanomachines. Nanobots are later used for a variety of purposes, from turning victims into berserk warriors to granting Creed Diskenth immortality.

In the anime and manga series To Love-Ru, the Transformation Weapons Golden Darkness and Mea Kurosaki have nanomachines within them, in the same manner as Eve from Black Cat.

In the anime and manga series Project ARMS, the ARMS are weapons made from many nanomachines imbued into compatible biological beings, granting them a great variety of combative abilities and regeneration. The four protagonists each have an ARMS that have artificial intelligence, but the Keith series and the modulated ARMS do not.

In the LEGO franchise BIONICLE, it is eventually revealed that all characters from the 2001–2008 storyline are biomechanical nanobots (though roughly human-sized, given the size of the gigantic robot they inhabit (12,192 km tall)).

One of the earliest appearances of nanotech in comics was the Technovore from Iron Man 294 (July 1993).

In several X-Men storylines, nano-sentinels appear, either used to modify human beings into Prime Sentinels (including the character Fantomex), or to infect mutants and attack their cells.

Cyberpunk derivatives

From Wikipedia, the free encyclopedia

Since the advent of the cyberpunk genre, a number of derivatives of cyberpunk have become recognized in their own right as distinct subgenres in speculative fiction, especially in science fiction. Rather than necessarily sharing the digitally and mechanically focused setting of cyberpunk, these derivatives can display other futuristic, or even retrofuturistic, qualities that are drawn from or analogous to cyberpunk: a world built on one particular technology that is extrapolated to a highly sophisticated level (this may even be a fantastical or anachronistic technology, akin to retrofuturism), a gritty transreal urban style, or a particular approach to social themes.

Steampunk, one of the most well-known of these subgenres, has been defined as a "kind of technological fantasy;" others in this category sometimes also incorporate aspects of science fantasy and historical fantasy. Scholars have written of the stylistic place of these subgenres in postmodern literature, as well as their ambiguous interaction with the historical perspective of postcolonialism.

Background

American author Bruce Bethke coined the term cyberpunk in his 1980 short story of the same name, proposing it as a label for a new generation of 'punk' teenagers inspired by the perceptions inherent to the Information Age. The term was quickly appropriated as a label to be applied to the works of William Gibson, Bruce Sterling, John Shirley, Rudy Rucker, Michael Swanwick, Pat Cadigan, Lewis Shiner, Richard Kadrey, and others. Science fiction author Lawrence Person, in defining postcyberpunk, summarized the characteristics of cyberpunk thusly:

Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.

The cyberpunk style describes the nihilistic and underground side of the digital society that developed from the last two decades of the 20th century. The cyberpunk world is dystopian, that is, it is the antithesis of utopian visions, very frequent in science fiction produced in the mid-twentieth century, typified by the world of Star Trek, although incorporating some of these utopias. It is sometimes generically defined as "cyberpunk-fantasy" or "cyberfantasy" a work of a fantasy genre that concerns the internet or cyberspace. Among the best known exponents are commonly indicated William Gibson, for his highly innovative and distinctive stories and novels from a stylistic and thematic point of view, and Bruce Sterling, for theoretical elaboration. Sterling later defined cyberpunk as “a new type of integration. The overlapping of worlds that were formally separated: the realm of high tech and modern underground culture.

The relevance of cyberpunk as a genre to punk subculture is debatable and further hampered by the lack of a defined 'cyberpunk' subculture. Where the small 'cyber' movement shares themes with cyberpunk fiction, as well as drawing inspiration from punk and goth alike, cyberculture is considerably more popular though much less defined, encompassing virtual communities and cyberspace in general and typically embracing optimistic anticipations about the future. Cyberpunk is nonetheless regarded as a successful genre, as it ensnared many new readers and provided the sort of movement that postmodern literary critics found alluring. Furthermore, author David Brin argues, cyberpunk made science fiction more attractive and profitable for mainstream media and the visual arts in general.

Futuristic derivatives

Biopunk

Biopunk builds on synthetic biology and biotechnology (such as bionanotechnology and biorobotics), typically focusing on the potential dangers to genetic engineering and enhancement. As such, this genre generally depicts near-future unintended consequences of the biotechnology revolution following the discovery of recombinant DNA.

Emerging during the 1990s, biopunk fiction usually describes the struggles of individuals or groups, often the product of human experimentation, against a backdrop of totalitarian governments or megacorporations that misuse biotechnologies as means of social control or profiteering.

As in postcyberpunk, individuals are most commonly modified and enhanced by genetic manipulation of their chromosomes rather than with prosthetic cyberware or dry nanotechnologies (albeit, like in nanopunk, bio-, nanotechnologies, and cyberware often coexist), and sometimes with other biotechnologies, such as nanobiotechnology, wetware, special bioengineered organs, and neural and tissue grafts.

Film examples include Naked Lunch (1991), Gattaca (1997), Children of Men (2006), and Vesper (2022).

Nanopunk

Nanopunk focuses on worlds in which the theoretical possibilities of nanotechnology are a reality, including the use of Drexlerian 'dry' nano-assemblers and nanites.

It is an emerging subgenre that is still less common in comparison to other derivatives of cyberpunk. The genre is similar to biopunk, which focuses on the use of biotechnology, such as bionanotechnology and biorobotics, rather than on nanotechnology. (Albeit, like in biopunk, bio-, nanotechnologies, and cyberware often coexist in contrast to classical cyberpunk settings tending to heavily focus on mechanical cyberware to the point of genetic engineering and nanotechnologies being outright banned in some cyberpunk settings.)

One of the earliest works of nanopunk, Tech Heaven (1995) by Linda Nagata, looked into the healing potential of nanotechnology. Currently, the genre is more concerned with the artistic and physiological impact of nanotechnology, than of aspects of the technology itself. For instance, Prey (2002) by Michael Crichton explores a potential doomsday scenario caused by nanotechnology. Still, one of the most prominent examples of nanopunk is the Crysis video game series; less famous examples include the television series Generator Rex (2010) and film Transcendence (2014).

Postcyberpunk

Postcyberpunk includes newer cyberpunk works that experiment with different approaches to the genre. Oftentimes, such works will keep to central futuristic elements of cyberpunk—such as human augmentation, ubiquitous infospheres, and other advanced technology—but will forgo the assumption of a dystopia. However, like all categories discerned within science fiction, the boundaries of postcyberpunk are likely to be fluid or ill-defined.

It can be argued that the rise of cyberpunk fiction took place at a time when the 'cyber' was still considered new, foreign, and more-or-less strange to the average person. In this sense, postcyberpunk essentially emerged in acknowledgement of the idea that humanity has since adapted to the concept of cyberspace and no longer sees some elements of cyberpunk as from a distant world.

As new writers and artists began to experiment with cyberpunk ideas, new varieties of fiction emerged, sometimes addressing the criticisms leveled at classic cyberpunk fiction. In 1998, Lawrence Person published an essay to the Internet forum Slashdot in which he discusses the emergence of the postcyberpunk genre:

The best of cyberpunk conveyed huge cognitive loads about the future by depicting (in best "show, don't tell" fashion) the interaction of its characters with the quotidian minutia of their environment. In the way they interacted with their clothes, their furniture, their decks and spex, cyberpunk characters told you more about the society they lived in than "classic" SF stories did through their interaction with robots and rocketships. Postcyberpunk uses the same immersive world-building technique, but features different characters, settings, and, most importantly, makes fundamentally different assumptions about the future. Far from being alienated loners, postcyberpunk characters are frequently integral members of society (i.e., they have jobs). They live in futures that are not necessarily dystopic (indeed, they are often suffused with an optimism that ranges from cautious to exuberant), but their everyday lives are still impacted by rapid technological change and an omnipresent computerized infrastructure.

Person advocates using the term postcyberpunk for the strain of science fiction that he describes above. In this view, typical postcyberpunk fiction explores themes related to a "world of accelerating technological innovation and ever-increasing complexity in ways relevant to our everyday lives," while continuing the focus on social aspects within a post-third industrial-era society, such as of ubiquitous dataspheres and cybernetic augmentation of the human body. Unlike cyberpunk, its works may portray a utopia or to blend elements of both extremes into a relatively more mature societal vision.

Denoting the postmodern framework of the genre, Rafael Miranda Huereca (2006) states:

In this fictional world, the unison in the hive becomes a power mechanism which is executed in its capillary form, not from above the social body but from within. This mechanism as Foucault remarks is a form of power, which "reaches into the very grain of individuals, touches their bodies and inserts itself into their actions and attitudes, their discourses, learning processes and everyday lives". In postcyberpunk unitopia 'the capillary mechanism' that Foucault describes is literalized. Power touches the body through the genes, injects viruses to the veins, takes the forms of pills and constantly penetrates the body through its surveillance systems; collects samples of body substance, reads finger prints, even reads the 'prints' that are not visible, the ones which are coded in the genes. The body responds back to power, communicates with it; supplies the information that power requires and also receives its future conduct as a part of its daily routine. More importantly, power does not only control the body, but also designs, (re)produces, (re)creates it according to its own objectives. Thus, human body is re-formed as a result of the transformations of the relations between communication and power.

The Daemon novel series by Daniel Suarez could be considered postcyberpunk in this sense.

In addition to themes of its ancestral genre, according to Huereca (2011), postcyberpunk might also combine elements of nanopunk and biopunk. Some postcyberpunk settings can have diverse types of augmentations instead of focusing on one kind, while others, similar to classic cyberpunk, can revolve around a single type of technology like prosthetics, such as in Ghost in the Shell (GitS).

Often named examples of postcyberpunk novels are Neal Stephenson's The Diamond Age and Bruce Sterling's Holy Fire. In television, Person has called Ghost in the Shell: Stand Alone Complex "the most interesting, sustained postcyberpunk media work in existence." In 2007, San Francisco writers James Patrick Kelly and John Kessel published Rewired: The Post-Cyberpunk Anthology.

Cyber noir

Cyber noir is a noir genre story placed in a cyberpunk setting.

Retrofuturistic derivatives

As a wider variety of writers began to work with cyberpunk concepts, new subgenres of science fiction emerged, playing off the cyberpunk label, and focusing on technology and its social effects in different ways. Many derivatives of cyberpunk are retro-futuristic: they reimagine the past either through futuristic visions of historical eras (especially from the first and second industrial revolution technological-eras), or through depictions of more recent extrapolations or exaggerations of the actual technology from those eras.

Steampunk

Victorian-style attire with a steampunk mechanical arm
 

Steampunk is a retro-futuristic genre that is influenced by the Steam Age, ranging from the late Regency era (1795–1837; when the Industrial Revolution began) through the Victorian era (1837–1901) and the Belle Époque (1871–1914).

The word steampunk was invented in 1987 as a jocular reference to some of the novels of Tim Powers, James P. Blaylock, and K. W. Jeter. When Gibson and Sterling entered the subgenre with their 1990 collaborative novel The Difference Engine, the term was being used earnestly as well. Alan Moore and Kevin O'Neill's 1999 The League of Extraordinary Gentlemen historical fantasy comic book series (and the subsequent 2003 film adaptation) popularized the steampunk genre and helped propel it into mainstream fiction.

The most immediate form of steampunk subculture is the community of fans surrounding the genre. Others move beyond this, attempting to adopt a "steampunk" aesthetic through fashion, home decor and even music. This movement may also be (perhaps more accurately) described as "Neo-Victorianism", which is the amalgamation of Victorian aesthetic principles with modern sensibilities and technologies. This characteristic is particularly evident in steampunk fashion which tends to synthesize punk, goth and rivet styles as filtered through the Victorian era. As an object style, however, steampunk adopts more distinct characteristics with various craftspersons modding modern-day devices into a pseudo-Victorian mechanical "steampunk" style. The goal of such redesigns is to employ appropriate materials (such as polished brass, iron, and wood) with design elements and craftsmanship consistent with the Victorian era.

Other examples include Wild Wild West (1999) Hugo (2011), Treasure Planet (2002), Last Exile (2003), Bioshock Infinite (2013) Arcane (2022).

Clockpunk

Clockpunk, a subgenre of steampunk, reimagines the Renaissance period (14th–17th century) to include retro-futuristic technology, often portraying Renaissance-era science and technology based on clockwork, gears, and Da Vincian machinery designs. Such designs are in the vein of Mainspring by Jay Lake, and Whitechapel Gods by S. M. Peters.

The term was coined by the GURPS role-playing system. Examples of clockpunk include The Blazing World by Margaret Cavendish; Astro-Knights Island in the nonlinear game Poptropica; the Clockwork Mansion level of Dishonored 2; the 2011 film version of The Three Musketeers; the TV series Da Vinci's Demons; as well as the video games Thief: The Dark Project, Syberia, and Assassin's Creed 2. Ian Tregillis' book The Mechanical is self-proclaimed clockpunk literature.

For some, clockpunk is steampunk without steam.

Alita: Battle Angel (2019), based on the manga Battle Angel Alita, is mostly cyberpunk but sometimes its machines contain elements of clockpunk.

Dieselpunk

Dieselpunk

Dieselpunk is a genre and art style based on the aesthetics popular in the interwar period through the end of World War II into the 1950s, when diesel displaced the steam engine. The style combines the artistic and genre influences of the period (including pulp magazines, serial films, film noir, art deco, and wartime pin-ups) with retro-futuristic technology and postmodern sensibilities.

First coined in 2001 as a marketing term by game designer Lewis Pollak to describe his role-playing game Children of the Sun, dieselpunk has since grown to describe a distinct style of visual art, music, motion pictures, fiction, and engineering.

Examples include the movies Iron Sky (2012), Captain America: The First Avenger (2011), The Rocketeer (1991), K-20: Legend of the Mask (2008), Sky Captain and the World of Tomorrow (2004), and Dark City (1998); video games such as the Crimson Skies series, Greed Corp, Gatling Gears, BioShock and its sequel, Skullgirls, the Wolfenstein series, Iron Harvest, and Final Fantasy VII; and television shows like The Legend of Korra.

Decopunk

Decopunk, also known as coalpunk, is a recent subset of dieselpunk, centered around the art deco and Streamline Moderne art styles. Other influences include the 1927 film Metropolis as well as the environment of American cities like New York, Chicago, and Boston around the period between the 1920s and 1950s.

Steampunk author Sara M. Harvey made the distinction that decopunk is "shinier than dieselpunk;" more specifically, dieselpunk is "a gritty version of steampunk set in the 1920s–1950s" (i.e., the war eras), whereas decopunk "is the sleek, shiny very art deco version; same time period, but everything is chrome!"

Possibly the most notable examples of this genre are games like the first two titles in the BioShock series and Skullgirls; films like Dick Tracy (1990), The Rocketeer (1991), The Shadow (1994), and Dark City (1998); comic books like The Goon; and the cartoon Batman: The Animated Series, which included neo-noir elements along with modern elements such as the use of VHS cassettes.

Atompunk

Cover of Atomic War number one, November 1952

Atompunk (also known as atomicpunk) relates to the pre-digital period of 1945–1969, including mid-century modernism; the Atomic, Jet, and Space Ages; communism, Neo-Soviet styling, and early Cold War espionage, along with anti-communist and Red Scare paranoia in the United States; underground cinema; Googie architecture; Sputnik and the Space Race; comic books and superhero fiction; and the rise of the American military–industrial complex.

Its aesthetic tends toward Populuxe and Raygun Gothic, which describe a retro-futuristic vision of the world. Most science fiction of the period carried an aesthetic that influenced or inspired later atompunk works. Some of these precursors to atompunk include 1950s science fiction films (including, but not limited to, B movies), the Sean Connery-era of the James Bond franchise, Dr. Strangelove, Star Trek, The Twilight Zone, The Outer Limits, The Avengers, early Doctor Who episodes, The Man from U.N.C.L.E., The Green Hornet, The Jetsons, Jonny Quest, Thunderbirds, Speed Racer, and some Silver Age comic books.

Notable examples of atompunk in popular media that have been released since the period include television series like Dexter's Laboratory, The Powerpuff Girls, Venture Bros, Archer, and the web series The Mercury Men; comic books like Ignition City and Atomic Age; films like Logan's Run (1976), The Incredibles (2004), The Iron Giant (1999), Indiana Jones and the Kingdom of the Crystal Skull (2008), The Man from U.N.C.L.E. (2015), X-Men: First Class (2011), and Men in Black 3 (2012); video games like Destroy All Humans! (2005), the Fallout series, and Atomic Heart (2023); and books like Adam Christopher's novel The Age Atomic.

Steelpunk

Steelpunk focuses on the technologies that had their heyday in the late 20th century. It has been described as being characterized by hardware over software, the real world over the virtual world, and mega-technology over nanotechnology; rather than grown, printed, or programmed, artifacts in steelpunk are built (typically with rivets).

Examples include films like Snowpiercer (2013), as well as those in the Mad Max, Terminator, and Robocop film franchises; stories centered on comic book characters Barb Wire, Iron Man, and Stainless Steel Rat; and Heinlein juveniles novels.

Cassette futurism/Formicapunk

Cassette futurism is a subgenre of cyberpunk that reimagines early 1980s aesthetics as popularized by the IBM Personal Computer and imitators, regardless of the real time setting of the media. Notable elements of cassette futurism includes loud, bright, contrasting colors and geometric shapes, a tendency towards stark plainness, a lack of powerful computers and cell phones, and the prominent usage of 1980s or 1980s-inspired technologies such as: magnetic tape data storage, cathode-ray tube displays, computer systems reminiscent of microcomputers like the Commodore 64, freestanding music centres, small, monochromatic LCDs as opposed to full-color screens, floppy disks, and analog technologies. The internet, or some analogue to it, may exist in a cassette futurism work, but be used less frequently in data exchange than physical media.

Notable cassette futurism works include the designs of Syd Mead and Ron Cobb, the 2018 Netflix miniseries Maniac, works featuring Max Headroom, Blake's 7, the 1995 film Strange Days, and some elements of the TVA in the Disney+ series Loki.

Rococopunk

Rococopunk is a whimsical aesthetic derivative of cyberpunk that thrusts punk attitude into the Rococo period, also known as the late Baroque period, of the 18th century.

Although it is a fairly recent derivative, it is a style that is visually similar to the New Romantic movement of the 1980s (particularly to such groups as Adam and the Ants). As one steampunk scholar put it, "Imagine a world where the Rococo period never ended, and it had a lovechild with Sid Vicious." Rococopunk has most recently been seen through the artist Prince Poppycock as featured on The X Factor. Fashion designer Vivienne Westwood, often known as "the Queen of Punk Fashion," also mixes Rococo with punk stylings.

Stonepunk

A Flintstones-themed cafeteria, an example of stonepunk architecture

Stonepunk refers to works set roughly during the Stone Age in which the characters utilize Neolithic Revolution–era technology constructed from materials more-or-less consistent with the time period, but possessing anachronistic complexity and function.

The Flintstones franchise, including its various spinoffs, falls under this category. Other examples include the episode "The Nightmare of Milky Joe" in The Mighty Boosh, Gilligan's Island, The Croods franchise, and Castaway (2000). Literary examples include Edgar Rice Burroughs' Back to the Stone Age and The Land that Time Forgot, and Jean M. Auel's "Earth's Children" series, beginning with The Clan of the Cave Bear. Riichiro Inagaki's manga series Dr. Stone can also be considered stonepunk.

Other proposed science fiction derivatives

There have been a handful of divergent terms based on the general concepts of steampunk. These are typically considered unofficial and are often invented by readers, or by authors referring to their own works, often humorously.

A large number of terms have been used by the GURPS roleplaying game Steampunk to describe anachronistic technologies and settings, including stonepunk (Stone-Age tech), bronzepunk (Bronze-Age tech), sandalpunk/ironpunk (Iron-Age tech), candlepunk (Medieval tech), clockpunk (Renaissance tech), and atompunk/transistorpunk (Atomic-Age tech). These terms have seen very little use outside GURPS.

Raypunk

Raypunk (or more commonly "Raygun gothic") is a distinctive (sub)genre that deals with scenarios, technologies, beings or environments, very different from everything that is known or what is possible here on Earth or by science. It covers space surrealism, parallel worlds, alien art, technological psychedelia, non-standard 'science', alternative or distorted/twisted reality, and so on.

It is a predecessor to atompunk with similar "cosmic" themes, but mostly without explicit nuclear power or definitive technology. It is also distinct in that it has more archaic/schematic/artistic style; and its atmosphere is a more dark, obscure, cheesy, weird, mysterious, dreamy, hazy, or etheric (origins before 1880–1950), parallel to steampunk, dieselpunk, and teslapunk.

While not originally designed as such, the original Star Trek series has an aesthetic very reminiscent of raypunk. The comic book series The Manhattan Projects, the animated film Fantastic Planet (La Planète Sauvage) and the pre-WWII Buck Rogers and Flash Gordon comics and serials would be examples of raypunk.

Nowpunk

Nowpunk is a term invented by Bruce Sterling, which he applied to contemporary fiction that is set in the time period (particularly in the post-Cold War 1990s to the present, or a future where that particular time period is influential) in which the fiction is being published, i.e. all contemporary fiction. Sterling used the term to describe his book The Zenith Angle, which follows the story of a hacker whose life is changed by the September 11 attacks in 2001, This genre can often be identified for its strong use of '80s and '90s fashion and music, Gen-X and Millennial pop culture references, video games, early MTV, Japanese anime, and the internet. Some of the leading Nowpunk works include, Tank Girl, Watch Dogs, FLCL, Scott Pilgrim, Megas XLR, Mr. Robot, Regular Show, Steven Universe, Rick and Morty, Years and Years (TV series), Detroit: Become Human mixing the nowpunk with cyber and bio punk, Not Tonight (video game) series and We Bare Bears.

Cyberprep

Cyberprep is a term with a similar meaning to postcyberpunk. A cyberprep world assumes that all the technological advancements of cyberpunk speculation have taken place, but life is utopian rather than gritty and dangerous. Since society is largely leisure-driven, advanced body enhancements are used for sports, pleasure, and self-improvement.

The word is an amalgam of the prefix cyber-, referring to cybernetics, and preppy, reflecting its divergence from the punk elements of cyberpunk.

An example of this genre would be Stanislaw Lem’s Return from the Stars.

Solarpunk

Solarpunk is a movement, a subgenre, and an alternative to cyberpunk fiction that encourages optimistic envisioning of the future in light of present environmental concerns, such as climate change and pollution, as well as concerns of social inequality. Solarpunk fiction—which includes novels, short stories, and poetry—imagines futures that address environmental concerns with varying degrees of optimism. One example is News from Gardenia by actor-writer Robert Llewellyn.

Lunarpunk

Lunarpunk is a subgenre of solarpunk with a darker aesthetic. It portrays the nightlife, spirituality, and more introspective side of solarpunk utopias.

As seen in the film Avatar (2009) by James Cameron, the genre focuses on living in unison with nature; spiritualization is very present and nature is seen as a deity of sorts. In this way, it can be defined as "Witchy Solarpunk." Aesthetically, lunarpunk usually is presented with pinks, purples, blues, black, and silver with an almost omnipresence of bioluminescent plants and especially mushrooms.

Other proposed fantastic fiction derivatives

Elfpunk

Elfpunk is a subgenre of urban fantasy in which traditional mythological creatures, such as faeries and elves, are transplanted from rural folklore into modern urban settings.

The genre has been found in books since the 1980s, including works such as War for the Oaks by Emma Bull, Gossamer Axe by Gael Baudino, the Artemis Fowl series by Eoin Colfer, the Harry Potter series by J.K. Rowling, and The Iron Dragon's Daughter by Michael Swanwick. It also existed in other mediums at that time, for example the 1989 role playing game Shadowrun. Set in the near future, it would be considered traditional cyberpunk, if not for the appearance of orks, dwarves, elves, trolls and dragons, and the return of Magic.

During the awards ceremony for the 2007 National Book Awards, judge Elizabeth Partridge expounded on the distinction between elfpunk and urban fantasy, citing fellow judge Scott Westerfeld's thoughts on the works of Holly Black who is considered "classic elfpunk:" creatures depicted in elfpunk are those that have already existed in literature—urban fantasy, on the other hand, "can have some totally made-up f*cked-up [sic] creatures."

The 2020 Pixar animated film Onward is an example of elfpunk fiction, set in a "suburban fantasy world" that combines modern and mythic elements. The Netflix film Bright is another example of elfpunk in cinema.

Mythpunk

The technological change that separates mythpunk from our reality is a difference in a philosophy or a social science from our own. Catherynne M. Valente uses the term mythpunk to describe a subgenre of mythic fiction that starts in folklore and myth and adds elements of postmodernist literary techniques. Valente coined the term in a 2006 blog post as a joke for describing her own and other works of challenging folklore-based fantasy.

As the -punk suffix implies, mythpunk is subversive. In particular, it uses aspects of folklore to subvert or question dominant societal norms, often bringing in a feminist and/or multicultural approach. It confronts, instead of conforms to, societal norms. Valente describes mythpunk as breaking "mythologies that defined a universe where women, queer folk, people of color, people who deviate from the norm were invisible or never existed" and then "piecing it back together to make something strange and different and wild."

Typically, mythpunk narratives focus on transforming folkloric source material rather than retelling it, often through postmodern literary techniques such as non-linear storytelling, worldbuilding, confessional poetry, as well as modern linguistic and literary devices. The use of folklore is especially important because folklore is "often a battleground between subversive and conservative forces", according to speculative fiction writer Amal El-Mohtar, and a medium for constructing new societal norms. Through postmodern literary techniques, mythpunk authors change the structures and traditions of folklore, "negotiating—and validating—different norms."

Most works of mythpunk have been published by small presses, such as Strange Horizons, because "anything playing out on the edge is going to have truck with the small presses at some point, because small presses take big risks." Writers whose works would fall under the mythpunk label include Ekaterina Sedia, Theodora Goss, Neil Gaiman, Sonya Taaffe, Rick Riordan and Adam Christopher. Valente's novel Deathless is an example of mythpunk, drawing from classic Russian folklore to tell the tale of Koschei the Deathless from a female perspective.

Some worlds imagined in children's and young adult programming, such as She-Ra and the Princesses of Power and The Owl House, seemingly portray worlds without misogyny or homophobia, with the former portraying several queer characters and the latter featuring a bisexual female protagonist, Luz Noceda, who escapes from the real world into the inclusive mythpunk world of the Boiling Isles.

Posthuman

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Posthuman

Posthuman or post-human is a concept originating in the fields of science fiction, futurology, contemporary art, and philosophy that means a person or entity that exists in a state beyond being human. The concept aims at addressing a variety of questions, including ethics and justice, language and trans-species communication, social systems, and the intellectual aspirations of interdisciplinarity.

Posthumanism is not to be confused with transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality. The notion of the posthuman comes up both in posthumanism as well as transhumanism, but it has a special meaning in each tradition. In 2017, Penn State University Press in cooperation with Stefan Lorenz Sorgner and James Hughes established the Journal of Posthuman Studies, in which all aspects of the concept "posthuman" can be analysed.

Posthumanism

In critical theory, the posthuman is a speculative being that represents or seeks to re-conceive the human. It is the object of posthumanist criticism, which critically questions humanism, a branch of humanist philosophy which claims that human nature is a universal state from which the human being emerges; human nature is autonomous, rational, capable of free will, and unified in itself as the apex of existence. Thus, the posthuman position recognizes imperfectability and disunity within oneself, and understands the world through heterogeneous perspectives while seeking to maintain intellectual rigor and dedication to objective observations. Key to this posthuman practice is the ability to fluidly change perspectives and manifest oneself through different identities. The posthuman, for critical theorists of the subject, has an emergent ontology rather than a stable one; in other words, the posthuman is not a singular, defined individual, but rather one who can "become" or embody different identities and understand the world from multiple, heterogeneous perspectives.

Approaches to posthumanism are not homogeneous, and have often been very critical. The term itself is contested, with one of the foremost authors associated with posthumanism, Manuel DeLanda, decrying the term as "very silly." Covering the ideas of, for example, Robert Pepperell's The Posthuman Condition, and Hayles's How We Became Posthuman under a single term is distinctly problematic due to these contradictions.

The posthuman is roughly synonymous with the "cyborg" of A Cyborg Manifesto by Donna Haraway. Haraway's conception of the cyborg is an ironic take on traditional conceptions of the cyborg that inverts the traditional trope of the cyborg whose presence questions the salient line between humans and robots. Haraway's cyborg is in many ways the "beta" version of the posthuman, as her cyborg theory prompted the issue to be taken up in critical theory. Following Haraway, Hayles, whose work grounds much of the critical posthuman discourse, asserts that liberal humanism—which separates the mind from the body and thus portrays the body as a "shell" or vehicle for the mind—becomes increasingly complicated in the late 20th and 21st centuries because information technology puts the human body in question. Hayles maintains that we must be conscious of information technology advancements while understanding information as "disembodied," that is, something which cannot fundamentally replace the human body but can only be incorporated into it and human life practices.

Post-posthumanism and post-cyborg ethics

The idea of post-posthumanism (post-cyborgism) has recently been introduced. This body of work outlines the after-effects of long-term adaptation to cyborg technologies and their subsequent removal, e.g., what happens after 20 years of constantly wearing computer-mediating eyeglass technologies and subsequently removing them, and of long-term adaptation to virtual worlds followed by return to "reality." and the associated post-cyborg ethics (e.g. the ethics of forced removal of cyborg technologies by authorities, etc.).

Posthuman political and natural rights have been framed on a spectrum with animal rights and human rights.[18] Posthumanism broadens the scope of what it means to be a valued life form and to be treated as such (in contrast to certain life forms being seen as less-than and being taken advantage of or killed off); it “calls for a more inclusive definition of life, and a greater moral-ethical response, and responsibility, to non-human life forms in the age of species blurring and species mixing. … [I]t interrogates the hierarchic ordering—and subsequently exploitation and even eradication—of life forms.”

Transhumanism

Definition

According to transhumanist thinkers, a posthuman is a hypothetical future being "whose basic capacities so radically exceed those of present humans as to be no longer unambiguously human by our current standards." Posthumans primarily focus on cybernetics, the posthuman consequent and the relationship to digital technology. Steve Nichols published the Posthuman Movement manifesto in 1988. His early evolutionary theory of mind (MVT) allows development of sentient E1 brains. The emphasis is on systems. Transhumanism does not focus on either of these. Instead, transhumanism focuses on the modification of the human species via any kind of emerging science, including genetic engineering, digital technology, and bioengineering. Transhumanism is sometimes criticized for not adequately addressing the scope of posthumanism and its concerns for the evolution of humanism.

Methods

Posthumans could be completely synthetic artificial intelligences, or a symbiosis of human and artificial intelligence, or uploaded consciousnesses, or the result of making many smaller but cumulatively profound technological augmentations to a biological human, i.e. a cyborg. Some examples of the latter are redesigning the human organism using advanced nanotechnology or radical enhancement using some combination of technologies such as genetic engineering, psychopharmacology, life extension therapies, neural interfaces, advanced information management tools, memory enhancing drugs, wearable or implanted computers, and cognitive techniques.

Posthuman future

As used in this article, "posthuman" does not necessarily refer to a conjectured future where humans are extinct or otherwise absent from the Earth. Kevin Warwick says that both humans and posthumans will continue to exist but the latter will predominate in society over the former because of their abilities. Recently, scholars have begun to speculate that posthumanism provides an alternative analysis of apocalyptic cinema and fiction, often casting vampires, werewolves and even zombies as potential evolutions of the human form and being.

Many science fiction authors, such as Greg Egan, H. G. Wells, Isaac Asimov, Bruce Sterling, Frederik Pohl, Greg Bear, Charles Stross, Neal Asher, Ken MacLeod, Peter F. Hamilton, Ann Leckie, and authors of the Orion's Arm Universe, have written works set in posthuman futures.

Posthuman God

A variation on the posthuman theme is the notion of a "posthuman god"; the idea that posthumans, being no longer confined to the parameters of human nature, might grow physically and mentally so powerful as to appear possibly god-like by present-day human standards. This notion should not be interpreted as being related to the idea portrayed in some science fiction that a sufficiently advanced species may "ascend" to a higher plane of existence—rather, it merely means that some posthuman beings may become so exceedingly intelligent and technologically sophisticated that their behaviour would not possibly be comprehensible to modern humans, purely by reason of their limited intelligence and imagination.

Significant other

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Sig...