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Tag: kim stanley robinson

The Coronavirus Is Rewriting Our Imaginations


What felt impossible has become thinkable. The spring of 2020 is suggestive of how much, and how quickly, we can change as a civilization.

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The realism of our time


An interview with Kim Stanley Robinson by Helena Feder / RP 2.01 (February 2018)

Kim Stanley Robinson is the author of more than twenty works of fiction, including the celebrated Mars trilogy (Red MarsGreen Mars and Blue Mars), Forty Signs of Rain, The Years of Rice and Salt2312 and, his latest novel, New York 2140. A former student of Fredric Jameson, Robinson’s work is consistently anti-capitalist. His novels evince not only his deep interest in global economy and ecology, but also a belief that fiction may venture into spheres where theory fears to tread. For Robinson, science fiction is uniquely placed to do this, rooted both in what is and what could be. In the best tradition of the genre (H.G. Wells, Isaac Asimov, Ursula K. Le Guin), it can consider critically both the politics and possibilities of technology, and the social, ideological and ecological systems that give rise to it. Science fiction has, in this sense, a particular responsibility not only to imagine the future but to imagine how we might change its direction. In Robinson’s New York 2140, a series of connected characters, centred around the MetLife tower in a future inter-tidal world, a financially and physically liquid city, come together to do just this. Sea levels have risen in two catastrophic ‘pulses’ of ten and forty feet, transforming planetary and human geography. In the midst of this ecological and refugee crisis, lower Manhattan becomes ‘a veritable hotbed of theory and practice, like it always used to say it was, but this time for real.’

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Science fiction when the future is now


nature journal

AlphaGo, fake news, cyberwar: 2017 has felt science-fictional in the here and now. Space settlement and sea-steading seem just around the bend; so, at times, do nuclear war and pandemic. With technological change cranked up to warp speed and day-to-day life smacking of dystopia, where does science fiction go? Has mainstream fiction taken up the baton?

Nature asked six prominent sci-fi writers — Lauren Beukes, Kim Stanley Robinson, Ken Liu, Hannu Rajaniemi, Alastair Reynolds and Aliette de Bodard — to reflect on what the genre has to offer at the end of an extraordinary year.

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A Sensitive Dependence on Initial Conditions


by Kim Stanley Robinson (1991)

The covering law model of historical explanation states that an event is explained if it can be logically deduced from a set of initial conditions, and a set of general historical laws. These sets are the explanans, and the event is the explanandum. The general laws are applied to the initial conditions, and the explanandum is shown to be the inevitable result. An explanation, in this model, has the same structure as a prediction.

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Angry Optimism in a Drowned World: A Conversation with Kim Stanley Robinson

by José Luis de Vicente

Reflections from a science-fiction angle on the scenarios posed by climate change and the defence of the imagination to help find real solutions.

Kim Stanley Robinson is one of the world’s most highly reputed science-fiction authors and one of the key exponents of climate fiction. His work, set in the near future, brings us face-to-face with concepts such as the Anthropocene, terraforming and post-capitalism. With him we analyse the link between the ecological crisis and the economic one, placing the emphasis on the need for new political economics. We also explore the role of art and literature when formulating possible futures, the importance of the imagination for finding solutions and the defence of optimism and humour as we deal with the scenario confronting us. This interview, conducted by José Luis de Vicente, forms part of the catalogue for the exhibition After the End of the World, in which the writer is participating with an audiovisual prologue.

It is said that your Mars Trilogy of novels (Red Mars, Green Mars and Blue Mars, 1992-1996) is perhaps the most successful example in science fiction of the use of the notion of “terraforming”: the idea that man can transform a whole planet to make it habitable and reproduce Earth-like conditions. The Mars trilogy explores the idea that any terraforming project would necessarily be not only technical, but also political. As McKenzie Wark writes in Molecular Red: A Theory of the Anthropocenein your version of Mars, “questions of nature and culture, economics and politics, can never be treated in isolation, as all levels have to be organized together.

What is terraforming in the Mars trilogy as a political project, and what was it telling us about the transformation of Earth itself by the hand of man? 

About 20 years ago, I began to read in the technical literature of the planetary science community that Mars is unusual. It is on the outside of the sun’s habitable zone, and because it has water and other frozen volatile gases that we need for life on Earth, it might be possible to heat up Mars and release those gases to essentially recreate an atmosphere, and then introduce Earth’s genetic heritage, life forms and biosphere into the Martian context. In combination, you might get something new that would be like the High Arctic or Siberia; a human space that would be habitable without wearing space suits. Carl Sagan was actually the astronomer who was really important in pointing this out. It’s essentially a kind of science-fiction idea that was achievable in the real world.

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