In the documentary, one of the culture mavens in the NYC art world refers to Mr Yang as "Taiwan's Charlie Chaplin [of the NYC Art World]."

UPDATE: Mr Yang will attend the March 2018 documentary film festival in Chiayi in south Taiwan as a special guest of the event for the screening of his movie by Director Huang.


Renowned Taiwanese filmmaker director Ming-Chuan Huang has made a 85-minute documentary titled FACE THE EARTH about Taiwanese-American performance artist Chin Chih Yang to explore the artist’s lifelong focus on the culture of waste. The documentary has been shown already in New York City in November 2017 and is set for a Taiwan premiere in March at the Chiayi International Documentary Festival, which Director Huang chairs each year in his hometown.


NYC headline: "Queens museum premieres a documentary about the eccectric and colorful performance artist Chin Chih Yang."


In the documentary, one of the culture mavens in the NYC art world refers to Mr Yang as "Taiwan's Charlie Chaplin [of the NYC Art World]." It's a fantastic and apt nickname. Let the entire world hear and see more from this avant-garde artiste!


http://qns.com/story/2017/11/16/queens-museum-premieres-film-eccentric-colorful-performance-artist/


It’s a film about a one-of-a-kind personality.
In November 2017, Queens Museum screened “Face The Earth,” a documentary on Taiwanese-American performance artist Chin Chin Yang.


The very definition of the term “colorful character,” the Taiwan-born Yang who has lived in the USA for over 30 years has had a lifelong obsession with garbage and the throw-away culture. He’s also had a long-time affiliation with Queens.
In July 2012, he introduced “Kill Me or Change” to bring attention to his contention that the average American throws away 30,000 aluminum cans over their lifetime. He sat in a public space near the Unisphere in Flushing Meadows Corona Park while a crane suspended a mesh net containing 30,000 such cans about 60 feet above his head. An audience member then pulled a string and the net opened, allowing the contents to fall onto his head and bury his body.


In October 2010, he publicized “My New Job” which entailed walking across Queens College’s campus and picking up garbage to use in an installation between Klapper Hall and the Dining Hall. He was also part of a group exhibit at Flux Factory in Long Island City.


“Face The Earth,” which lasts 85 minutes, mixes scenes of Yang’s projects and interviews with collaborators and others in the art world. Viewers will see clips from “Burning Ice,” a piece that involved Yang sitting on a giant block of ice in Manhattan’s Union Square and imploring passers-by to ponder the polar ice cap, which he claimed would melt entirely by 2050. They will also watch Yang make cloth out of potato chip bags and spearhead an effort to create a Giant Can Family at the Contemporary Art Museum of Taipei. In a political episode, he projects a giant Taiwanese flag onto the United Nations, which denies the island nation membership due to differences with China.
Tom Finkelpearl, who ran Queens Museum at the time of “Kill Me or Change” and is currently the NYC Commissioner of Cultural Affairs, appears in the movie, as does Peini Hsieh, the former Commissioner of the Taiwanese Department of Cultural Affairs.


About Chin Chih Yang


VIDEO HERE:
http://taiwandocs.tfi.org.tw/en/film_detail/11800

Multidisciplinary performance artist Chin Chih Yang was born in Taiwan, grew up there, did his military service there some 40 years ago, and has resided for about 30 years in the USA in New York City. He holds degrees from Pratt Institute and Parsons School of Design. Among other honors, he has been awarded grants by The New York State Council on the Arts, the New York Foundation for the Arts, Lower Manhattan Cultural Council, Franklin Furnace Archive, MacDowell Colony and more.


MORE VIDEO HERE:
https://vimeo.com/233323268


Yang’s interests in ecology and constructed environments have resulted in interactive performances and installations in the United States, Poland, Finland, Austria, Germany, Taiwan, Singapore and Hong Kong. He has exhibited/performed at Rockefeller Center, the United Nations, Union Square Park, The Queens Museum, the Godwin-Ternbach Museum, Exit Art, Flux Factory and in 2016 the Museum of Contemporary Art, Taipei hosted a major retrospective. All told, Yang strives to lead audiences to a more direct awareness of the effects of contemporary technology and engender compassion for all humanity.




As a footnote to his biography, 

Chin Chih Yang contracted a virus which affected his muscles and nerves

of his face at the time of his military service in Taiwan some 40 years ago. 

As viewers of the documentary will see, it has made him difficult to speak clearly at times but in general it has not impacted his communication skills as a speaker or as an artist.

Indeed, still photos do not tell much about Mr Yang's personal struggles over the years

with his physical difficulties. Only video , moving images, and his voice, can tell. And it is this doc

which intimately tells medical history of this man and his family side by

side with his public art performances. Many of Yang's artist friends in the New York

art world do not know fully of his works over the last 20 years, not

mentioning his 5 time surgeries of his face and the heart problem which

have haunted almost all members of his family for a long time.

About Director Ming-Chuan Huang

Born in Chiayi in south Taiwan in 1955, Ming-Chuan lives now in Taipei where after a career in feature films, some of them avant-garde and edgy (and controversial) now works with documentary films. Graduating from the Department of Law of National Taiwan University, he went to the USA to study Lithographic Printmaking in Art Students League of New York and Fine Arts and Photography at Art Center College of Design in Los Angeles. Huan’s feature film THE MAN FROM ISLAND WEST claimed an Excellent Cinematography Award at Hawaii international Film Festival and a Silver Screen Award at Singapore international Film Festival in 1990. In 1998 his FLAT TYRE was awarded Best film in the non-commercial category at Taipei Film Festival and Jury Award at the Golden Horse Festival, Taiwan.


Ming-Chuan has been the artistic director of the Chiayi City International Art Doc Film Festival since 2014.


ABOUT THE DOCUMENTARY


FACE THE EARTH puts viewers right next to Yang as 30,000 aluminum cans are dumped on his head to call our attention to the vast amount of waste each of us creates – the average person uses and discards 30,000 cans in their lifetime! Sit alongside Chin Chih and passersby in New York City’s storied Union Square, on a giant block of ice and ponder the possibility that the polar ice cap will be gone by 2050. Watch the public participate with the artist to help him create his Giant Can Family at the Contemporary Art Museum of Taipei. Learn how he makes sturdy whole cloth out of discarded potato chip bags and gain insight into how each of us can FACE THE EARTH and contribute to her resuscitation.


This 85-minute documentary film intersperses scenes of the artist at work with in-depth interviews with Tom Finkelpearl, The Commissioner of Cultural Affairs of the City of New York; Dr. Martha Wilson, Founding Director of Franklin Furnace Archive; Michael L. Royce, Executive Director of the New York Foundation for the Arts, Robert C. Morgan, Ph.D. – Artist/Art Critic, Steve Cannon – A Gathering of the Tribes, Nicolás Dumit Estévez Raful – artist, Jeffrey Grunthaner – writer, James Leonard – Artist, John Downing Bonafede – Artist, John Ahearn – Artist, Manfred Kirchheimer – film maker / professor of film at SVA, Heidi Jain – photography teacher and others. 


 Directed and Produced by Huang Mingchuan, and produced by Formosa Filmedia Company, FACE THE EARTH includes footage by Annie Berman, Wang Yi Chang, Ray Huang, Liu Kuanting, Wang Shau-gung, Nick McGovern, Sen-I Yu, Doll Chao, Johanna Naukkarinen, Jing Wang, Susan L Yung and others. Photography by Rodrigo Salazar, John Bonafede, John Ahearn, Justen Ladda, Tom Otterness, Julie Lemberger and others.


FACE THE EARTH is sponsored by the Ministry of Cultural Affairs of Taiwan, and copyrighted 2017 by Ming-Chuan Huang and Chin Chih Yang.

In the documentary, one of the culture mavens in the NYC art world refers to Mr Yang as "Taiwan's Charlie Chaplin [of the NYC Art World]."

UPDATE: Mr Yang will attend the March 2018 documentary film festival in Chiayi in south Taiwan as a special guest of the event for the screening of his movie by Director Huang.


Renowned Taiwanese filmmaker director Ming-Chuan Huang has made a 85-minute documentary titled FACE THE EARTH about Taiwanese-American performance artist Chin Chih Yang to explore the artist’s lifelong focus on the culture of waste. The documentary has been shown already in New York City in November 2017 and is set for a Taiwan premiere in March at the Chiayi International Documentary Festival, which Director Huang chairs each year in his hometown.


NYC headline: "Queens museum premieres a documentary about the eccectric and colorful performance artist Chin Chih Yang."


In the documentary, one of the culture mavens in the NYC art world refers to Mr Yang as "Taiwan's Charlie Chaplin [of the NYC Art World]." It's a fantastic and apt nickname. Let the entire world hear and see more from this avant-garde artiste!


http://qns.com/story/2017/11/16/queens-museum-premieres-film-eccentric-colorful-performance-artist/


It’s a film about a one-of-a-kind personality.
In November 2017, Queens Museum screened “Face The Earth,” a documentary on Taiwanese-American performance artist Chin Chin Yang.


The very definition of the term “colorful character,” the Taiwan-born Yang who has lived in the USA for over 30 years has had a lifelong obsession with garbage and the throw-away culture. He’s also had a long-time affiliation with Queens.
In July 2012, he introduced “Kill Me or Change” to bring attention to his contention that the average American throws away 30,000 aluminum cans over their lifetime. He sat in a public space near the Unisphere in Flushing Meadows Corona Park while a crane suspended a mesh net containing 30,000 such cans about 60 feet above his head. An audience member then pulled a string and the net opened, allowing the contents to fall onto his head and bury his body.


In October 2010, he publicized “My New Job” which entailed walking across Queens College’s campus and picking up garbage to use in an installation between Klapper Hall and the Dining Hall. He was also part of a group exhibit at Flux Factory in Long Island City.


“Face The Earth,” which lasts 85 minutes, mixes scenes of Yang’s projects and interviews with collaborators and others in the art world. Viewers will see clips from “Burning Ice,” a piece that involved Yang sitting on a giant block of ice in Manhattan’s Union Square and imploring passers-by to ponder the polar ice cap, which he claimed would melt entirely by 2050. They will also watch Yang make cloth out of potato chip bags and spearhead an effort to create a Giant Can Family at the Contemporary Art Museum of Taipei. In a political episode, he projects a giant Taiwanese flag onto the United Nations, which denies the island nation membership due to differences with China.
Tom Finkelpearl, who ran Queens Museum at the time of “Kill Me or Change” and is currently the NYC Commissioner of Cultural Affairs, appears in the movie, as does Peini Hsieh, the former Commissioner of the Taiwanese Department of Cultural Affairs.


About Chin Chih Yang


VIDEO HERE:
http://taiwandocs.tfi.org.tw/en/film_detail/11800

Multidisciplinary performance artist Chin Chih Yang was born in Taiwan, grew up there, did his military service there some 40 years ago, and has resided for about 30 years in the USA in New York City. He holds degrees from Pratt Institute and Parsons School of Design. Among other honors, he has been awarded grants by The New York State Council on the Arts, the New York Foundation for the Arts, Lower Manhattan Cultural Council, Franklin Furnace Archive, MacDowell Colony and more.


MORE VIDEO HERE:
https://vimeo.com/233323268


Yang’s interests in ecology and constructed environments have resulted in interactive performances and installations in the United States, Poland, Finland, Austria, Germany, Taiwan, Singapore and Hong Kong. He has exhibited/performed at Rockefeller Center, the United Nations, Union Square Park, The Queens Museum, the Godwin-Ternbach Museum, Exit Art, Flux Factory and in 2016 the Museum of Contemporary Art, Taipei hosted a major retrospective. All told, Yang strives to lead audiences to a more direct awareness of the effects of contemporary technology and engender compassion for all humanity.




As a footnote to his biography, 

Chin Chih Yang contracted a virus which affected his muscles and nerves

of his face at the time of his military service in Taiwan some 40 years ago. 

As viewers of the documentary will see, it has made him difficult to speak clearly at times but in general it has not impacted his communication skills as a speaker or as an artist.

Indeed, still photos do not tell much about Mr Yang's personal struggles over the years

with his physical difficulties. Only video , moving images, and his voice, can tell. And it is this doc

which intimately tells medical history of this man and his family side by

side with his public art performances. Many of Yang's artist friends in the New York

art world do not know fully of his works over the last 20 years, not

mentioning his 5 time surgeries of his face and the heart problem which

have haunted almost all members of his family for a long time.

About Director Ming-Chuan Huang

Born in Chiayi in south Taiwan in 1955, Ming-Chuan lives now in Taipei where after a career in feature films, some of them avant-garde and edgy (and controversial) now works with documentary films. Graduating from the Department of Law of National Taiwan University, he went to the USA to study Lithographic Printmaking in Art Students League of New York and Fine Arts and Photography at Art Center College of Design in Los Angeles. Huan’s feature film THE MAN FROM ISLAND WEST claimed an Excellent Cinematography Award at Hawaii international Film Festival and a Silver Screen Award at Singapore international Film Festival in 1990. In 1998 his FLAT TYRE was awarded Best film in the non-commercial category at Taipei Film Festival and Jury Award at the Golden Horse Festival, Taiwan.


Ming-Chuan has been the artistic director of the Chiayi City International Art Doc Film Festival since 2014.


ABOUT THE DOCUMENTARY


FACE THE EARTH puts viewers right next to Yang as 30,000 aluminum cans are dumped on his head to call our attention to the vast amount of waste each of us creates – the average person uses and discards 30,000 cans in their lifetime! Sit alongside Chin Chih and passersby in New York City’s storied Union Square, on a giant block of ice and ponder the possibility that the polar ice cap will be gone by 2050. Watch the public participate with the artist to help him create his Giant Can Family at the Contemporary Art Museum of Taipei. Learn how he makes sturdy whole cloth out of discarded potato chip bags and gain insight into how each of us can FACE THE EARTH and contribute to her resuscitation.


This 85-minute documentary film intersperses scenes of the artist at work with in-depth interviews with Tom Finkelpearl, The Commissioner of Cultural Affairs of the City of New York; Dr. Martha Wilson, Founding Director of Franklin Furnace Archive; Michael L. Royce, Executive Director of the New York Foundation for the Arts, Robert C. Morgan, Ph.D. – Artist/Art Critic, Steve Cannon – A Gathering of the Tribes, Nicolás Dumit Estévez Raful – artist, Jeffrey Grunthaner – writer, James Leonard – Artist, John Downing Bonafede – Artist, John Ahearn – Artist, Manfred Kirchheimer – film maker / professor of film at SVA, Heidi Jain – photography teacher and others. 


 Directed and Produced by Huang Mingchuan, and produced by Formosa Filmedia Company, FACE THE EARTH includes footage by Annie Berman, Wang Yi Chang, Ray Huang, Liu Kuanting, Wang Shau-gung, Nick McGovern, Sen-I Yu, Doll Chao, Johanna Naukkarinen, Jing Wang, Susan L Yung and others. Photography by Rodrigo Salazar, John Bonafede, John Ahearn, Justen Ladda, Tom Otterness, Julie Lemberger and others.


FACE THE EARTH is sponsored by the Ministry of Cultural Affairs of Taiwan, and copyrighted 2017 by Ming-Chuan Huang and Chin Chih Yang.

Professor Jason Haslam's Syllabus for his CLIMATE FICTION class: Apocalypse and Utopia

English 5973
Climate Fiction: Apocalypse and Utopia
McCain 1116; 2:35 pm-4:25 pm
Dr. Jason Haslam Fall 2017
https://jasonhaslamca.files.wordpress.com/2016/06/haslam-17-18-5973-syl-web-draft.pdf

Course Description

There has been a recent wave of academic and popular interest in fiction that takes climate change as its focus. Coined “cli-fi” by Dan Bloom, this oeuvre has been traced back to flood mythology in The Epic of Gilgamesh and other apocalyptic narratives, as well as to Romantic lyrics and modernist “back-to-nature” novels and movements. Most often, however, cli-fi is associated with contemporary science fiction—especially in its utopian and dystopian forms—that represents and analyzes anthropogenic climate change, often taking us back, so to speak, to the apocalypse. This course will begin by examining some of the progenitors of contemporary cli-fi—with special attention paid to the nineteenth century—before moving onto its central focus: the representation of climate change in contemporary science fiction. Therefore, in addition to discussions of ecocriticism and ecocritical theory, we will also examine theories of science fiction and utopia, and explore the benefits and paradoxes of using non-realist forms and tropes to discuss material change. We will primarily study literary works, but film and other forms will be discussed. Topics to be explored could include but are not limited to petrocultures; the intersections of social marginalization and climate change; Romantic, neo-Romantic and Gothic representations of nature; non-human subjectivities; technology, cyborgs, and utopia/dystopia; Indigenous SF and climate change; the use of SF tropes in scientific and political documents; human extinction.
Method of Evaluation
Assignments and Weightings
Weekly discussion questions: 10%
Discussion Question Presentation: 10%
Analytical Presentation: 20%
Final Essay: 50%
Class Participation: 10%
Assignment Descriptions
Weekly discussion questions: For each class, starting on September 13, students will submit one discussion question/critical thought about the material. These should be specific questions, addressing particular aspects of the material read. These questions will form the basis of discussions for our weekly meetings. Questions must be submitted at least 48 hours in advance (so people can complete the “discussion-question presentation” assignment), through the discussion board on Brightspace/OWL. Late questions will receive a grade of zero.
The grade will consist of the following: 1 points will be given for each week’s submitted question to a maximum of 10 points for the term. Questions must indicate specific knowledge of the work, and indicate thoughtful consideration of them. If a question does not indicate these, the instructor will
2
communicate that to the student, and how to address it, before the next class. If the issues are not addressed in future questions, those questions will receive a grade of zero.
Students do not submit questions on days when they are presenting (see below).
Discussion-question presentation: This assignment consists of two parts. First, you will prepare a summary of the thoughts raised by your colleagues in the week’s discussion questions. A good method for this is to group the questions into a few topics (for example: do many of the questions address a specific theme?). This first part should take no more than 5 minutes. Second, you will then offer a short list of topics to start discussion, based on your consideration of the texts and the questions, and help lead the class discussion for approximately 20-30 minutes. On days when there are analytical presentations, this will take place in the second half of class. On days when there are no presentations, this will take place in the first half of class.
You should be prepared to help generate discussion in the class, and move the discussion along when a topic is fully covered, or starts to wane. The discussion may well move off your specific topics, and that should be encouraged so long as the discussion stays focussed on the works and concerns of the course. You are not expected to talk for a significant period during this discussion, not should you! This assignment is geared to help you learn how to lead a discussion of literature / culture and other topics, but the discussion itself is the important part.
For the discussion-question presentation: The grade for the presentation will be based equally on the summary of the questions and topics generated and on the presentation itself. The grade for the summary and topics will be based on the accuracy, detail, and insight of the summary, and the depth and clarity of the topics. A printed version of the summary and topics is to be submitted on the day of the presentation. The presentation portion of the grade will take into account the student’s ability to lead and generate dynamic class discussion. A sign-in sheet for the presentation will be made available in the week of first week of class. PLEASE NOTE: if the course members are not particularly talkative, in some cases this may not reflect on you (and will in turn be reflected on their course participation grades). The instructor will do a “dry run” in the second week of course, as an example.
Note: you must do this assignment on a different week than your analytical presentation.
Analytical Presentation: This 15- to 20-minute presentation (approx. 8 to 10 pages, double spaced), following the style and format of a conference presentation, will consist of an analysis of one or more of the primary readings scheduled for the week of the presentation. You can analyse any aspect of the text, using whatever critical approach you think most appropriate and helpful. A formal written version of the analytical presentation must be submitted on the same day as the presentation. The written version and the presentation will each be worth half of the grade.
For the analytical presentations: The written version and the presentation will each be worth half of the grade. Both the presented and written versions will be graded according to the English Department’s statement on Graduate Seminar Evaluation (see below), while the grade for the presented version will also take into account the student’s ability to respond to questions and lead class discussion. A sign-in sheet for both presentations will be made available in the week of first week of class. The instructor will present one of his own papers in the second week of class, as an example of form.
Final Essay: The final essay will be 5000-6000 words (approximately 17 to 20 pages, double spaced), and can analyse any text or group of texts studied in the course. It can be based on your analytical presentation (though it will be expected that you take into account both class discussions and my
3
comments on your presentation, in addition to expanding it). This essay will be graded according to the English Department’s statement on Graduate Seminar Evaluation (see below).
Note 1: All written work must be documented according to an accepted citation style (e.g. Chicago; MLA). Students must indicate to the professor which style they have chosen.
Note 2: all written assignments must be submitted electronically through Brightspace.
Class Discussion: This grade will be based on the quality and consistency of your participation in class discussions (with an emphasis on quality). Students will be expected to respond constructively and professionally to their colleagues’ presentations, and to contribute to general class discussion of course material. Come prepared to discuss specifics about the material each week. See note below regarding FGS guidelines on the evaluation of participation.
Class Schedule
Introduction: Climate / Fiction
Sept. 6
Primary Reading: Miriam Oudin, “Edited Hansard 116”
Secondary Readings: Darko Suvin, " On the Poetics of the Science Fiction Genre”; Rebecca Tuhus-Dubrow, “Cli-fi: Birth of a Genre”; Mattias Hjerpe and Bjorn-Ola Linner, “Utopian and Dystopian Thought in Climate Change Science and Policy”
Cli-Fi Origins: Nature, Utopia, Apocalypse
Sept. 13
Primary Readings: Henry David Thoreau, Walden (“Economy” and “The Beanfield”); William Wordsworth, “Ode” [“Intimations of Immortality from Recollections of Early Childhood”]; Herman Melville, Moby Dick (Chapters 13, 94-96)
Secondary Readings: Greg Garrard, Ecocriticism (sel.)
Sept. 20
Primary: H. G. Wells, The Time Machine; E. M. Forster “The Machine Stops”
Secondary: H. G. Wells, “On Extinction”; Christina Alt, “Extinction, Extermination, and the Ecological Optimism of H.G. Wells”
Imagining a Global Climate: Energy Crises and Toxic Futures
Sept. 27
Primary: Frank Herbert, Dune
Secondary: Val Plumwood, “Nature in the Active Voice”; Brian Stableford, “Science Fiction and Ecology”
Oct. 4
Primary: Mad Max: Fury Road (screening can be arranged if class wishes); Paolo Bacigalupi, “The People of Sand and Slag”
Secondary: Val Plumwood, Feminism and the Mastery of Nature (sel.*)
Oct. 11
Primary: John Brunner, Sheep Look Up
4
Secondary: Lawrence Buell, "Toxic Discourse"; Global Humanitarian Forum, Human Impact Report on Climate Change (read “Executive summary, p. 1-4)
Presenting the Future
Oct. 18
Primary: Paolo Bacigalupi, The Windup Girl Secondary: Eric Otto, Green Speculations: Science Fiction and Transformative Environmentalism (sel.)
Oct. 25
Primary: Margaret Atwood, Oryx and Crake
Secondary: Kendra Strauss, “These Overheating Worlds”
Nov. 1
Primary: Naomi Oreskes and Erik M. Conway, The Collapse of Western Civilization; Samuel R. Delany, "We, in Some Strange Power's Employ, Move on a Rigorous Line”
Secondary: E. Ann Kaplan, Climate Trauma: Foreseeing the Future in Dystopian Film and Fiction (sel.)
Nov. 6-10: Study Break
Nov. 15
Primary: Octavia Butler, Parable of the Sower
Secondary: Greta Gard, “From ‘cli-fi’ to Critical Ecofeminism: Narratives of Climate Change and Climate Justice”
Nov. 22
Primary Reading: China Miéville, Three Moments of an Explosion
Secondary: Stephanie LeMenager, Living Oil (sel.)
Looking Forward: Indigenizing Cli-Fi
Nov. 29
Primary: Richard Van Camp, “On the Wings of this Prayer”; Sherman Alexie, “Distances”; William Sanders, “When this World Is All on Fire”
Secondary: Conrad Scott, “(Indigenous) Place and Time as Formal Strategy: Healing Immanent Crisis in the Dystopias of Eden Robinson and Richard Van Camp”

科幻展望未来新世界

科幻展望未来新世界

from a website inside Communist PRC CHINA in simplified Chinese characters with English translation below scroll down please

2017-12-22

Source: Science and Technology Daily in Communist PRC CHINA

http://www.kaixian.tv/gd/2017/1222/619802.html

来源：科技日报   我要评论

    如果要给2017年的中国科幻创作归纳一个主题的话，那毫无疑问是人工智能。“什么职业可能被AI取代？”“AI是否威胁人类？”这一年，在全民谈论AI的风潮中，科幻作家们常常能以小说的形式独辟蹊径，作出颇有见地的预测和推想，回应着大众的“AI焦虑症”。
    这一年，有两部国内原创科幻作品值得提及：韩松的《驱魔》和迟卉的《2030终点镇》。
    《驱魔》是韩松“医院三部曲”的第二部。人工智能“司命”掌控着一艘载满老年男性病人的医院船，航行在一片红色海洋中。当人工智能发现病的不是人，而是世界时，决意消除人类。最后主角甚至发现，人类或许早已被置于人工智能虚拟的世界中……小说有韩松一贯晦涩、阴郁和荒诞的风格。评论家宋明炜说：“语言的迷宫让读者经验迷离的未来史，意象幻觉后面透露着不可见的真相。”
    迟卉的《2030·终点镇》则是把背景放在一个人工智能渗透入生活方方面面的近未来世界，女主角凯玲回到了故乡终点镇，再次面对童年时变态杀手的阴影。这是人工智能走入人类社会甚至改变人类的巨变时刻，它既操控着人类互相杀戮，也帮助人类追寻真相。小说悬疑结构、惊悚情节和乡土氛围完美结合，给予读者强大的阅读动力，对人工智能“控制人类”的思考也丝丝入扣、润物无声。
    视线转向英美科幻创作，虽然很难总结出2017年的核心主题，但有一类题材却获得了相当多的关注：气候。自从美国记者 [Dan Bloom] [丹布隆] in sovereign nation of Taiwan which is NOT part of communist CHINA and never was 创造了“气候小说”（Cli-Fi）这个词后，他终于等到了一部这类小说的最新代表作品——金·斯坦利·罗宾逊的《纽约2140》。在小说中，全球暖化使得海平面上升了50英尺，纽约的下曼哈顿成为一片泽国，街道成为河道，摩天大楼成为孤岛。人们依然在这样的纽约乐观地适应和生存，演绎出一幕幕悲喜剧。
    设定在气候变化后末世的小说还有科利·多克托罗的《出走》。小说中，一部分人因不满精英集团的控制而出走荒野，利用3D打印技术满足生活基本需要，却遭到统治精英的镇压；而出走者掌握的长生技术势必引发一场颠覆性的革命。有意思的是，罗宾逊和多克托罗都不愿意将自己的小说称为“反乌托邦小说”。虽然将故事设定在后末世的未来，但他们本质上都对未来和人性保有乐观主义的态度。在一片“反乌托邦”热潮中，这样的作品不啻为一股清流。
    年末，美国goodreads网站发起了年度图书投票。科幻类获得票数第一的是凭借《火星救援》一炮而红的安迪·威尔的最新作《阿耳忒弥斯》。小说中，阿耳忒弥斯是月球上唯一的一座城市，女主角生长在城市贫民窟中，天生聪慧却无用武之地，太空码头的工作无法养家糊口，只能偶尔做一些走私补贴家用。她偶尔得到一次“干票大买卖”的机会，却发现卷入一场事关阿耳忒弥斯城生死存亡的惊天阴谋。小说虽然获得票选第一，但评论却毁誉参半。喜欢的人称赞女主角利用“科学”解决问题的机智和幽默劲儿，不喜欢的人却认为女主角神神叨叨令人厌烦，甚至有人认为作者完全不会写女性角色。

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Sci-fi via cli-fi looking ahead to a new world

2017-12-22 02:42:09

Source: Science and Technology Daily, I would like to comment on

If you want to 2017 years of Chinese science fiction to Create together a theme, it is without doubt one of the artificial intelligence. "What career may have been replaced by the AI? The AI is threat to humanity? This year, to talk about the AI's turmoil, science fiction writers are often in the form of a Novel Independence Avenue 蹊, to make well-informed forecasts and to think, to respond to the mass of the AI anxiety".

This year, there are two domestic original science fiction works worthy of mention: Han Song Of The exorcism, and no later than the end of the Hui in 2030, the town.

The exorcism of Han Song "Hospital Trilogy" in the second part. Artificial Intelligence "division" take control of a ship loaded with Older male patients of the hospital ships and navigation in the Red Sea. When the artificial intelligence found that the disease is not a person, but of the world, is committed to the elimination of the human race. Finally the protagonist even found that humanity may have been placed in the artificial intelligence virtual world… The novel is Han Song has always been obscure, gloom and absurd style. Critic Song Ming Wei said: "The language of the labyrinth allows readers to experience in the future, the history of the imagery behind the illusion that it is not visible to the truth. "

Late Hui at the end of 2030, the town is the background on an artificial intelligence to infiltrate into all aspects of life in the near future world, actress Kai Ling went back to his hometown end town, once again, in the face of the perversion of childhood killers. This is the artificial intelligence into human society and even change the human changes, it can manipulate a human killing each other, but also help the human quest for the truth. The novel mystery, thrilling circumstances and local ambience combine to give readers a powerful reading, the Artificial Intelligence control human thinking is also closely into the clip, 润 silent.

The line of sight to the British and American science fiction works, although it is difficult to draw out the central theme in 2017, but there is a kind of material has received considerable attention: the climate. Since the United States correspondent Dan, creating the climate story" (the word Cli-fi), he had to wait until a such up-to-date on behalf of the works of fiction - Mr. Kim Stanley Robinson of the New York 2140. In the novel, the global warming makes the sea level rise by 50 feet, New York's midtown Manhattan as a gloss of the street into the river and skyline as silos. It was still in New York is optimistic to adapt to and survive, the interpretation of a 幕 sad comedy.

Set in the context of climate change, the end of the story, there are a number of Toro's departure. In the novel, some people dissatisfied with the elite group's control and fled to the wilderness, the use of 3D printing technology to meet the basic needs of life, have been ruling elites of repression, and the exodus of the ageless technology is bound to trigger a subversive revolutionary. Interestingly, Robinson and the Toro are not willing to put their own novels known as the anti-utopian novels. Although the story set in the future after the end of the world, but they are essentially the future of humanity and maintain an attitude of optimism. In a piece of the anti-Utopian" craze, this works as good as a Lau.

At the end of the year, goodreads web site of the United States launched the Year Books. 科 votes obtained first of all with the Mars rescue of a gunboat and the red of Andy Wilson's latest for the implementation of the 忒 405, on the ear. In the novel, the ear 忒 405, the moon is only one city, actress growing up in urban slums, inherently intelligent have no place in the work space could not breadwinners, only occasionally do some smuggling of subsidized home. She occasionally with a dry, with large trading", was found in a field related to the ear 忒 405, the survival of the 惊 conspiracy. In the novel, while access to vote first, but the comments are 毁 mixed. I like to commend the heroine of "science" solution to the problem of wit and humor 劲 and do not like to think that actress God God in El Salvador El Salvador annoying, and even some people think that the authors do not write female roles.

You Read This news is the heart.

Science Fiction about Climate is CLIMATE FICTION aka cli-fi

2017-12-22 Source: Technology Day Alarm i want to threat 论

If you want to to the 国 in 2017 science fiction create a 归 纳 as the subject of the telephone that you nothing unable to suspect is intelligence. The bush 么 AI 职 operating may be replaced? Whether the AI wei 胁 person category? In this year and the 谈 AI 风 论, science fiction writer 们 often can be in the form of small 说 独 蹊 辟 diameter, 颇 made a 见 of the pre-test and presumably, feedback to the 众 虑 in the AI Focus".

This year with two original create content of 国 science fiction works worthy of mention: 韩 sung the magic of 驱 and give the 2030 Hui 镇 end point.

The magic of 驱 韩 医 homes pine "Trilogy" the second division. The Division of artificial intelligence to control a full 载 医 Older male patients of the hospital ships and navigation in 红 color oceans. When the artificial intelligence on the 现 disease is not a person but the world is intended to eliminate people solution type. The Hau protagonists even 现, send category or allow people already have been placed in the Artificial Intelligence 虚 拟 World… Small 说 贯 韩 marathon has a vague 涩, 阴 Wook and cannot 诞 风 of the grid. Threat 论 Song Myung 炜 说 Home: The language of 宫 let 读 离 fans to verify the been not to history, a deep-觉 imagery revealed that is not the truth of 见"

Give Hui of the 2030 · 镇 end point of the rule is to background on one Artificial Intelligence 渗 in almost all aspects of life is not to the world, the heroine of the 凯 Ling returned to the 乡 镇 end point for childhood again when the status of the 变 阴 杀 hand. This is artificial intelligence into the category of the Economic and Social Council be changed even in the jumbo category 变 变 time, it can manipulate the people category mutual 杀 killings, 帮 also help people recover 寻 category of the truth. Small 说 悬 结 构 suspect, 悚 节 惊 Qing 乡 Earth atmosphere and perfect 结 of the recommended range to be 读 to force large review 读 boot and artificial intelligence to the controller type" Thinking Into 丝 丝 also detained, 润 property unable 声.

视 lines and go to the British American science fiction 虽 so as to create a 难 结 out of the total of the core 2017 The subject category on the subject material 却 获 scored phase when more to note: 气 waiting. You hear from the United States since the record of Dan Bloom 国, create a "waiting" small 说 气 (cli-fi) This short article 词 after he wait until the end to this category of the latest small 说 representative works -- Kim · Stanley 逊 罗 宾, the 纽 approximately 2140. In the small 说, global warming makes the sea level rise by 50 ft, 纽 approximately in the Cayman Doha 顿 become a piece of 泽 国, streets into a river, Moses Big 楼 become a lonely 岛. People in these 们 remain as the 纽 approximately 乐 观, 适 should and survival and a cultural show 绎-剧 sad.

Set in the 气 变 waiting for queen's eschatology small 说 also have a collie, 罗, victor of the Exodus. Small 说, because it is not part of the elite set full control of exodus 团 wilderness, use 3D printing technology 术 met the basic needs of life 却 system governing elites were 镇 voltage, and exodus of the length of the biotech 术 势 will lead is one of the 颠 places by the revolution. Interestingly, 罗 宾 逊 and more, Victor 罗 愿 is not intended to own small 说 乌 称 as "anti-说 Tokelau Pong small". 虽 so will story set in the deep eschatology but not to his 们 on both the quality and humanity for not to have the main define 乐 观 status. In the "anti-state" 乌 of heat flows, as this work is not tantamount to a streams.

At the end of the year, mei 国 send goodreads network site of the annual icon certificate of vote. Science Fiction 获 Category Number of votes is the first 凭 take the Mars rescue of a gun and the Andy · 红 Wei 尔 as the latest of the ear in the 弥 忒. Small 说, 弥 忒 ear on the moon is the only city, the heroine of the length of the caves in urban 贫, 聪 Emily 却 innate abilities, unable code headers to work space cannot 养 of the 糊, only occasionally do some smuggling 补 尔 贴 home. She even received a "尔 dry 买 卖 large votes", the Panel will send 现 却 involved a places of the ear to the city 弥 忒 惊 阴 days the life and death of the 谋. 获 说 虽 so small a selected first, but threat 论 誉 毁 却 half references. Hi 欢 称 赞 heroine who use the solution of 学" problem and humor the Panel Ji 劲 欢 儿, not in default as the heroine 却 God is God 叨 烦 厌, even as the author of a default not be 写 female roles.

科幻展望未来新世界

科幻展望未来新世界

2017-12-22

http://www.kaixian.tv/gd/2017/1222/619802.html

来源：科技日报   我要评论

    如果要给2017年的中国科幻创作归纳一个主题的话，那毫无疑问是人工智能。“什么职业可能被AI取代？”“AI是否威胁人类？”这一年，在全民谈论AI的风潮中，科幻作家们常常能以小说的形式独辟蹊径，作出颇有见地的预测和推想，回应着大众的“AI焦虑症”。
    这一年，有两部国内原创科幻作品值得提及：韩松的《驱魔》和迟卉的《2030终点镇》。
    《驱魔》是韩松“医院三部曲”的第二部。人工智能“司命”掌控着一艘载满老年男性病人的医院船，航行在一片红色海洋中。当人工智能发现病的不是人，而是世界时，决意消除人类。最后主角甚至发现，人类或许早已被置于人工智能虚拟的世界中……小说有韩松一贯晦涩、阴郁和荒诞的风格。评论家宋明炜说：“语言的迷宫让读者经验迷离的未来史，意象幻觉后面透露着不可见的真相。”
    迟卉的《2030·终点镇》则是把背景放在一个人工智能渗透入生活方方面面的近未来世界，女主角凯玲回到了故乡终点镇，再次面对童年时变态杀手的阴影。这是人工智能走入人类社会甚至改变人类的巨变时刻，它既操控着人类互相杀戮，也帮助人类追寻真相。小说悬疑结构、惊悚情节和乡土氛围完美结合，给予读者强大的阅读动力，对人工智能“控制人类”的思考也丝丝入扣、润物无声。
    视线转向英美科幻创作，虽然很难总结出2017年的核心主题，但有一类题材却获得了相当多的关注：气候。自从美国记者 [Dan Bloom] [丹布隆] 创造了“气候小说”（Cli-Fi）这个词后，他终于等到了一部这类小说的最新代表作品——金·斯坦利·罗宾逊的《纽约2140》。在小说中，全球暖化使得海平面上升了50英尺，纽约的下曼哈顿成为一片泽国，街道成为河道，摩天大楼成为孤岛。人们依然在这样的纽约乐观地适应和生存，演绎出一幕幕悲喜剧。
    设定在气候变化后末世的小说还有科利·多克托罗的《出走》。小说中，一部分人因不满精英集团的控制而出走荒野，利用3D打印技术满足生活基本需要，却遭到统治精英的镇压；而出走者掌握的长生技术势必引发一场颠覆性的革命。有意思的是，罗宾逊和多克托罗都不愿意将自己的小说称为“反乌托邦小说”。虽然将故事设定在后末世的未来，但他们本质上都对未来和人性保有乐观主义的态度。在一片“反乌托邦”热潮中，这样的作品不啻为一股清流。
    年末，美国goodreads网站发起了年度图书投票。科幻类获得票数第一的是凭借《火星救援》一炮而红的安迪·威尔的最新作《阿耳忒弥斯》。小说中，阿耳忒弥斯是月球上唯一的一座城市，女主角生长在城市贫民窟中，天生聪慧却无用武之地，太空码头的工作无法养家糊口，只能偶尔做一些走私补贴家用。她偶尔得到一次“干票大买卖”的机会，却发现卷入一场事关阿耳忒弥斯城生死存亡的惊天阴谋。小说虽然获得票选第一，但评论却毁誉参半。喜欢的人称赞女主角利用“科学”解决问题的机智和幽默劲儿，不喜欢的人却认为女主角神神叨叨令人厌烦，甚至有人认为作者完全不会写女性角色。

您看完此新闻的心情是

TRANLATION VIA GOOGLE MACHINE:

Science Fiction about Climate is CLIMATE FICTION aka cli-fi

2017-12-22 Source: Technology Day Alarm i want to threat 论

If you want to to the 国 in 2017 science fiction create a 归 纳 as the subject of the telephone that you nothing unable to suspect is intelligence. The bush 么 AI 职 operating may be replaced? Whether the AI wei 胁 person category? In this year and the 谈 AI 风 论, science fiction writer 们 often can be in the form of small 说 独 蹊 辟 diameter, 颇 made a 见 of the pre-test and presumably, feedback to the 众 虑 in the AI Focus".

This year with two original create content of 国 science fiction works worthy of mention: 韩 sung the magic of 驱 and give the 2030 Hui 镇 end point.

The magic of 驱 韩 医 homes pine "Trilogy" the second division. The Division of artificial intelligence to control a full 载 医 Older male patients of the hospital ships and navigation in 红 color oceans. When the artificial intelligence on the 现 disease is not a person but the world is intended to eliminate people solution type. The Hau protagonists even 现, send category or allow people already have been placed in the Artificial Intelligence 虚 拟 World… Small 说 贯 韩 marathon has a vague 涩, 阴 Wook and cannot 诞 风 of the grid. Threat 论 Song Myung 炜 说 Home: The language of 宫 let 读 离 fans to verify the been not to history, a deep-觉 imagery revealed that is not the truth of 见"

Give Hui of the 2030 · 镇 end point of the rule is to background on one Artificial Intelligence 渗 in almost all aspects of life is not to the world, the heroine of the 凯 Ling returned to the 乡 镇 end point for childhood again when the status of the 变 阴 杀 hand. This is artificial intelligence into the category of the Economic and Social Council be changed even in the jumbo category 变 变 time, it can manipulate the people category mutual 杀 killings, 帮 also help people recover 寻 category of the truth. Small 说 悬 结 构 suspect, 悚 节 惊 Qing 乡 Earth atmosphere and perfect 结 of the recommended range to be 读 to force large review 读 boot and artificial intelligence to the controller type" Thinking Into 丝 丝 also detained, 润 property unable 声.

视 lines and go to the British American science fiction 虽 so as to create a 难 结 out of the total of the core 2017 The subject category on the subject material 却 获 scored phase when more to note: 气 waiting. You hear from the United States since the record of Dan Bloom 国, create a "waiting" small 说 气 (cli-fi) This short article 词 after he wait until the end to this category of the latest small 说 representative works -- Kim · Stanley 逊 罗 宾, the 纽 approximately 2140. In the small 说, global warming makes the sea level rise by 50 ft, 纽 approximately in the Cayman Doha 顿 become a piece of 泽 国, streets into a river, Moses Big 楼 become a lonely 岛. People in these 们 remain as the 纽 approximately 乐 观, 适 should and survival and a cultural show 绎-剧 sad.

Set in the 气 变 waiting for queen's eschatology small 说 also have a collie, 罗, victor of the Exodus. Small 说, because it is not part of the elite set full control of exodus 团 wilderness, use 3D printing technology 术 met the basic needs of life 却 system governing elites were 镇 voltage, and exodus of the length of the biotech 术 势 will lead is one of the 颠 places by the revolution. Interestingly, 罗 宾 逊 and more, Victor 罗 愿 is not intended to own small 说 乌 称 as "anti-说 Tokelau Pong small". 虽 so will story set in the deep eschatology but not to his 们 on both the quality and humanity for not to have the main define 乐 观 status. In the "anti-state" 乌 of heat flows, as this work is not tantamount to a streams.

At the end of the year, mei 国 send goodreads network site of the annual icon certificate of vote. Science Fiction 获 Category Number of votes is the first 凭 take the Mars rescue of a gun and the Andy · 红 Wei 尔 as the latest of the ear in the 弥 忒. Small 说, 弥 忒 ear on the moon is the only city, the heroine of the length of the caves in urban 贫, 聪 Emily 却 innate abilities, unable code headers to work space cannot 养 of the 糊, only occasionally do some smuggling 补 尔 贴 home. She even received a "尔 dry 买 卖 large votes", the Panel will send 现 却 involved a places of the ear to the city 弥 忒 惊 阴 days the life and death of the 谋. 获 说 虽 so small a selected first, but threat 论 誉 毁 却 half references. Hi 欢 称 赞 heroine who use the solution of 学" problem and humor the Panel Ji 劲 欢 儿, not in default as the heroine 却 God is God 叨 烦 厌, even as the author of a default not be 写 female roles.

科幻展望未来新世界

科幻展望未来新世界

2017-12-22

http://www.kaixian.tv/gd/2017/1222/619802.html

来源：科技日报   我要评论

    如果要给2017年的中国科幻创作归纳一个主题的话，那毫无疑问是人工智能。“什么职业可能被AI取代？”“AI是否威胁人类？”这一年，在全民谈论AI的风潮中，科幻作家们常常能以小说的形式独辟蹊径，作出颇有见地的预测和推想，回应着大众的“AI焦虑症”。
    这一年，有两部国内原创科幻作品值得提及：韩松的《驱魔》和迟卉的《2030终点镇》。
    《驱魔》是韩松“医院三部曲”的第二部。人工智能“司命”掌控着一艘载满老年男性病人的医院船，航行在一片红色海洋中。当人工智能发现病的不是人，而是世界时，决意消除人类。最后主角甚至发现，人类或许早已被置于人工智能虚拟的世界中……小说有韩松一贯晦涩、阴郁和荒诞的风格。评论家宋明炜说：“语言的迷宫让读者经验迷离的未来史，意象幻觉后面透露着不可见的真相。”
    迟卉的《2030·终点镇》则是把背景放在一个人工智能渗透入生活方方面面的近未来世界，女主角凯玲回到了故乡终点镇，再次面对童年时变态杀手的阴影。这是人工智能走入人类社会甚至改变人类的巨变时刻，它既操控着人类互相杀戮，也帮助人类追寻真相。小说悬疑结构、惊悚情节和乡土氛围完美结合，给予读者强大的阅读动力，对人工智能“控制人类”的思考也丝丝入扣、润物无声。
    视线转向英美科幻创作，虽然很难总结出2017年的核心主题，但有一类题材却获得了相当多的关注：气候。自从美国记者 [Dan Bloom] [丹布隆] 创造了“气候小说”（Cli-Fi）这个词后，他终于等到了一部这类小说的最新代表作品——金·斯坦利·罗宾逊的《纽约2140》。在小说中，全球暖化使得海平面上升了50英尺，纽约的下曼哈顿成为一片泽国，街道成为河道，摩天大楼成为孤岛。人们依然在这样的纽约乐观地适应和生存，演绎出一幕幕悲喜剧。
    设定在气候变化后末世的小说还有科利·多克托罗的《出走》。小说中，一部分人因不满精英集团的控制而出走荒野，利用3D打印技术满足生活基本需要，却遭到统治精英的镇压；而出走者掌握的长生技术势必引发一场颠覆性的革命。有意思的是，罗宾逊和多克托罗都不愿意将自己的小说称为“反乌托邦小说”。虽然将故事设定在后末世的未来，但他们本质上都对未来和人性保有乐观主义的态度。在一片“反乌托邦”热潮中，这样的作品不啻为一股清流。
    年末，美国goodreads网站发起了年度图书投票。科幻类获得票数第一的是凭借《火星救援》一炮而红的安迪·威尔的最新作《阿耳忒弥斯》。小说中，阿耳忒弥斯是月球上唯一的一座城市，女主角生长在城市贫民窟中，天生聪慧却无用武之地，太空码头的工作无法养家糊口，只能偶尔做一些走私补贴家用。她偶尔得到一次“干票大买卖”的机会，却发现卷入一场事关阿耳忒弥斯城生死存亡的惊天阴谋。小说虽然获得票选第一，但评论却毁誉参半。喜欢的人称赞女主角利用“科学”解决问题的机智和幽默劲儿，不喜欢的人却认为女主角神神叨叨令人厌烦，甚至有人认为作者完全不会写女性角色。

您看完此新闻的心情是

TRANLATION VIA GOOGLE MACHINE:

Science Fiction about Climate is CLIMATE FICTION aka cli-fi

2017-12-22 Source: Technology Day Alarm i want to threat 论

If you want to to the 国 in 2017 science fiction create a 归 纳 as the subject of the telephone that you nothing unable to suspect is intelligence. The bush 么 AI 职 operating may be replaced? Whether the AI wei 胁 person category? In this year and the 谈 AI 风 论, science fiction writer 们 often can be in the form of small 说 独 蹊 辟 diameter, 颇 made a 见 of the pre-test and presumably, feedback to the 众 虑 in the AI Focus".

This year with two original create content of 国 science fiction works worthy of mention: 韩 sung the magic of 驱 and give the 2030 Hui 镇 end point.

The magic of 驱 韩 医 homes pine "Trilogy" the second division. The Division of artificial intelligence to control a full 载 医 Older male patients of the hospital ships and navigation in 红 color oceans. When the artificial intelligence on the 现 disease is not a person but the world is intended to eliminate people solution type. The Hau protagonists even 现, send category or allow people already have been placed in the Artificial Intelligence 虚 拟 World… Small 说 贯 韩 marathon has a vague 涩, 阴 Wook and cannot 诞 风 of the grid. Threat 论 Song Myung 炜 说 Home: The language of 宫 let 读 离 fans to verify the been not to history, a deep-觉 imagery revealed that is not the truth of 见"

Give Hui of the 2030 · 镇 end point of the rule is to background on one Artificial Intelligence 渗 in almost all aspects of life is not to the world, the heroine of the 凯 Ling returned to the 乡 镇 end point for childhood again when the status of the 变 阴 杀 hand. This is artificial intelligence into the category of the Economic and Social Council be changed even in the jumbo category 变 变 time, it can manipulate the people category mutual 杀 killings, 帮 also help people recover 寻 category of the truth. Small 说 悬 结 构 suspect, 悚 节 惊 Qing 乡 Earth atmosphere and perfect 结 of the recommended range to be 读 to force large review 读 boot and artificial intelligence to the controller type" Thinking Into 丝 丝 also detained, 润 property unable 声.

视 lines and go to the British American science fiction 虽 so as to create a 难 结 out of the total of the core 2017 The subject category on the subject material 却 获 scored phase when more to note: 气 waiting. You hear from the United States since the record of Dan Bloom 国, create a "waiting" small 说 气 (cli-fi) This short article 词 after he wait until the end to this category of the latest small 说 representative works -- Kim · Stanley 逊 罗 宾, the 纽 approximately 2140. In the small 说, global warming makes the sea level rise by 50 ft, 纽 approximately in the Cayman Doha 顿 become a piece of 泽 国, streets into a river, Moses Big 楼 become a lonely 岛. People in these 们 remain as the 纽 approximately 乐 观, 适 should and survival and a cultural show 绎-剧 sad.

Set in the 气 变 waiting for queen's eschatology small 说 also have a collie, 罗, victor of the Exodus. Small 说, because it is not part of the elite set full control of exodus 团 wilderness, use 3D printing technology 术 met the basic needs of life 却 system governing elites were 镇 voltage, and exodus of the length of the biotech 术 势 will lead is one of the 颠 places by the revolution. Interestingly, 罗 宾 逊 and more, Victor 罗 愿 is not intended to own small 说 乌 称 as "anti-说 Tokelau Pong small". 虽 so will story set in the deep eschatology but not to his 们 on both the quality and humanity for not to have the main define 乐 观 status. In the "anti-state" 乌 of heat flows, as this work is not tantamount to a streams.

At the end of the year, mei 国 send goodreads network site of the annual icon certificate of vote. Science Fiction 获 Category Number of votes is the first 凭 take the Mars rescue of a gun and the Andy · 红 Wei 尔 as the latest of the ear in the 弥 忒. Small 说, 弥 忒 ear on the moon is the only city, the heroine of the length of the caves in urban 贫, 聪 Emily 却 innate abilities, unable code headers to work space cannot 养 of the 糊, only occasionally do some smuggling 补 尔 贴 home. She even received a "尔 dry 买 卖 large votes", the Panel will send 现 却 involved a places of the ear to the city 弥 忒 惊 阴 days the life and death of the 谋. 获 说 虽 so small a selected first, but threat 论 誉 毁 却 half references. Hi 欢 称 赞 heroine who use the solution of 学" problem and humor the Panel Ji 劲 欢 儿, not in default as the heroine 却 God is God 叨 烦 厌, even as the author of a default not be 写 female roles.

科幻展望未来新世界

科幻展望未来新世界

2017-12-22

http://www.kaixian.tv/gd/2017/1222/619802.html

来源：科技日报   我要评论

    如果要给2017年的中国科幻创作归纳一个主题的话，那毫无疑问是人工智能。“什么职业可能被AI取代？”“AI是否威胁人类？”这一年，在全民谈论AI的风潮中，科幻作家们常常能以小说的形式独辟蹊径，作出颇有见地的预测和推想，回应着大众的“AI焦虑症”。
    这一年，有两部国内原创科幻作品值得提及：韩松的《驱魔》和迟卉的《2030终点镇》。
    《驱魔》是韩松“医院三部曲”的第二部。人工智能“司命”掌控着一艘载满老年男性病人的医院船，航行在一片红色海洋中。当人工智能发现病的不是人，而是世界时，决意消除人类。最后主角甚至发现，人类或许早已被置于人工智能虚拟的世界中……小说有韩松一贯晦涩、阴郁和荒诞的风格。评论家宋明炜说：“语言的迷宫让读者经验迷离的未来史，意象幻觉后面透露着不可见的真相。”
    迟卉的《2030·终点镇》则是把背景放在一个人工智能渗透入生活方方面面的近未来世界，女主角凯玲回到了故乡终点镇，再次面对童年时变态杀手的阴影。这是人工智能走入人类社会甚至改变人类的巨变时刻，它既操控着人类互相杀戮，也帮助人类追寻真相。小说悬疑结构、惊悚情节和乡土氛围完美结合，给予读者强大的阅读动力，对人工智能“控制人类”的思考也丝丝入扣、润物无声。
    视线转向英美科幻创作，虽然很难总结出2017年的核心主题，但有一类题材却获得了相当多的关注：气候。自从美国记者 [Dan Bloom] [丹布隆] 创造了“气候小说”（Cli-Fi）这个词后，他终于等到了一部这类小说的最新代表作品——金·斯坦利·罗宾逊的《纽约2140》。在小说中，全球暖化使得海平面上升了50英尺，纽约的下曼哈顿成为一片泽国，街道成为河道，摩天大楼成为孤岛。人们依然在这样的纽约乐观地适应和生存，演绎出一幕幕悲喜剧。
    设定在气候变化后末世的小说还有科利·多克托罗的《出走》。小说中，一部分人因不满精英集团的控制而出走荒野，利用3D打印技术满足生活基本需要，却遭到统治精英的镇压；而出走者掌握的长生技术势必引发一场颠覆性的革命。有意思的是，罗宾逊和多克托罗都不愿意将自己的小说称为“反乌托邦小说”。虽然将故事设定在后末世的未来，但他们本质上都对未来和人性保有乐观主义的态度。在一片“反乌托邦”热潮中，这样的作品不啻为一股清流。
    年末，美国goodreads网站发起了年度图书投票。科幻类获得票数第一的是凭借《火星救援》一炮而红的安迪·威尔的最新作《阿耳忒弥斯》。小说中，阿耳忒弥斯是月球上唯一的一座城市，女主角生长在城市贫民窟中，天生聪慧却无用武之地，太空码头的工作无法养家糊口，只能偶尔做一些走私补贴家用。她偶尔得到一次“干票大买卖”的机会，却发现卷入一场事关阿耳忒弥斯城生死存亡的惊天阴谋。小说虽然获得票选第一，但评论却毁誉参半。喜欢的人称赞女主角利用“科学”解决问题的机智和幽默劲儿，不喜欢的人却认为女主角神神叨叨令人厌烦，甚至有人认为作者完全不会写女性角色。

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TRANLATION VIA GOOGLE MACHINE:

Science Fiction about Climate is CLIMATE FICTION aka cli-fi

2017-12-22 Source: Technology Day Alarm i want to threat 论

If you want to to the 国 in 2017 science fiction create a 归 纳 as the subject of the telephone that you nothing unable to suspect is intelligence. The bush 么 AI 职 operating may be replaced? Whether the AI wei 胁 person category? In this year and the 谈 AI 风 论, science fiction writer 们 often can be in the form of small 说 独 蹊 辟 diameter, 颇 made a 见 of the pre-test and presumably, feedback to the 众 虑 in the AI Focus".

This year with two original create content of 国 science fiction works worthy of mention: 韩 sung the magic of 驱 and give the 2030 Hui 镇 end point.

The magic of 驱 韩 医 homes pine "Trilogy" the second division. The Division of artificial intelligence to control a full 载 医 Older male patients of the hospital ships and navigation in 红 color oceans. When the artificial intelligence on the 现 disease is not a person but the world is intended to eliminate people solution type. The Hau protagonists even 现, send category or allow people already have been placed in the Artificial Intelligence 虚 拟 World… Small 说 贯 韩 marathon has a vague 涩, 阴 Wook and cannot 诞 风 of the grid. Threat 论 Song Myung 炜 说 Home: The language of 宫 let 读 离 fans to verify the been not to history, a deep-觉 imagery revealed that is not the truth of 见"

Give Hui of the 2030 · 镇 end point of the rule is to background on one Artificial Intelligence 渗 in almost all aspects of life is not to the world, the heroine of the 凯 Ling returned to the 乡 镇 end point for childhood again when the status of the 变 阴 杀 hand. This is artificial intelligence into the category of the Economic and Social Council be changed even in the jumbo category 变 变 time, it can manipulate the people category mutual 杀 killings, 帮 also help people recover 寻 category of the truth. Small 说 悬 结 构 suspect, 悚 节 惊 Qing 乡 Earth atmosphere and perfect 结 of the recommended range to be 读 to force large review 读 boot and artificial intelligence to the controller type" Thinking Into 丝 丝 also detained, 润 property unable 声.

视 lines and go to the British American science fiction 虽 so as to create a 难 结 out of the total of the core 2017 The subject category on the subject material 却 获 scored phase when more to note: 气 waiting. You hear from the United States since the record of Dan Bloom 国, create a "waiting" small 说 气 (cli-fi) This short article 词 after he wait until the end to this category of the latest small 说 representative works -- Kim · Stanley 逊 罗 宾, the 纽 approximately 2140. In the small 说, global warming makes the sea level rise by 50 ft, 纽 approximately in the Cayman Doha 顿 become a piece of 泽 国, streets into a river, Moses Big 楼 become a lonely 岛. People in these 们 remain as the 纽 approximately 乐 观, 适 should and survival and a cultural show 绎-剧 sad.

Set in the 气 变 waiting for queen's eschatology small 说 also have a collie, 罗, victor of the Exodus. Small 说, because it is not part of the elite set full control of exodus 团 wilderness, use 3D printing technology 术 met the basic needs of life 却 system governing elites were 镇 voltage, and exodus of the length of the biotech 术 势 will lead is one of the 颠 places by the revolution. Interestingly, 罗 宾 逊 and more, Victor 罗 愿 is not intended to own small 说 乌 称 as "anti-说 Tokelau Pong small". 虽 so will story set in the deep eschatology but not to his 们 on both the quality and humanity for not to have the main define 乐 观 status. In the "anti-state" 乌 of heat flows, as this work is not tantamount to a streams.

At the end of the year, mei 国 send goodreads network site of the annual icon certificate of vote. Science Fiction 获 Category Number of votes is the first 凭 take the Mars rescue of a gun and the Andy · 红 Wei 尔 as the latest of the ear in the 弥 忒. Small 说, 弥 忒 ear on the moon is the only city, the heroine of the length of the caves in urban 贫, 聪 Emily 却 innate abilities, unable code headers to work space cannot 养 of the 糊, only occasionally do some smuggling 补 尔 贴 home. She even received a "尔 dry 买 卖 large votes", the Panel will send 现 却 involved a places of the ear to the city 弥 忒 惊 阴 days the life and death of the 谋. 获 说 虽 so small a selected first, but threat 论 誉 毁 却 half references. Hi 欢 称 赞 heroine who use the solution of 学" problem and humor the Panel Ji 劲 欢 儿, not in default as the heroine 却 God is God 叨 烦 厌, even as the author of a default not be 写 female roles.