Solarpunk: Against a Shitty Future

“Solarpunk is about ‘ingenuity, generativity, independence, and community’ — the last of which is of particular interest — and rightly sees ‘infrastructure as a form of resistance.’

Politically, the stories vary, but they always feature a progressive focus on race, gender, and equality of all kinds: many revolve around themes of difference, recognition, and acceptance. Non-normativity is often raised to the level of heroism by imagining a world that facilitates the accentuation of one’s abilities precisely because of their difference. In Solarpunk, there is a place for everyone (except perhaps the occasional douchy white dude whose fate it is, in today’s cultural spectrum, to stand for all the problems that the genre strives to overcome).”

—Rhys Williams. “Solarpunk: Against a Shitty Future.” LARB. March 10, 2018.

Probably as much of a summary of identity politics as it is of Solarpunk.

Also, if interested, there’s a reference guide to Solarpunk.

How the Godfather of Cyberpunk Would Write Software

“[Cyberpunk science fiction writer William Gibson] begins each day by reading the whole manuscript again…

…What if we began each day by re-reading all the code [reviewing all the numbers, editing the work, revisiting our assumptions, etc.] we’d written for the story/feature/bug we were working on?

…Skimming is a kind of reading, but it’s often fooled me into believing I know more than I do.”

—Marcus Blankenship. “How the Godfather of Cyberpunk Would Write Software.” November 4, 2017.

Thought the need for immersing ourselves in our material, revisiting, editing and evolving before we move into expanding and creating something new was an interesting idea, one that runs counter to the tendencies of our time. Might also explain why his books tend to be short.

Black 14

“In 1969, 14 black players from the University of Wyoming football team expressed a desire to wear armbands during a game against BYU in protest of the racism of the Mormon Church. Their coach immediately kicked them all off the team. The University administration backed him up as did many others.

Why would a white man be filled with rage when confronted by free-thinking, free-speaking, free-moving black people asserting their humanity?” That’s just one of many questions that director Darius Clark Monroe found himself asking when he first heard about the story. His film Black 14 (as the players came to be known) is made up wholly of archival material and serves as an indictment of a society where those seeking to protest white racism are instead made into its next targets.”