After watching the new Frankenstein movie this weekend, I decided to correct something. I'd never read the original novel by Mary Shelley. I was familiar with the overall story, but I think it came from reading a comic book adaptation at some point decades ago, one I knew was heavily abridged. A key question upfront was which version to read: the…

Last night I watched Guillermo del Toro's new version of Frankenstein. As I frequently point out on this blog, I'm not a big horror fan, but I've frequently been impressed with del Toro's work, and Frankenstein is a classic. And it strikes me as more of an existential exploration than one invoking horror just for horror's sake. We all know the story.

Nature has an article noting that language models have killed "the Turing test" and asking if we even need a replacement. I think the article makes some good points. But a lot of the people quoted seem to take the opportunity to dismiss Turing's whole idea. I think this is a mistake. First, we need to remember how Turing came up with his test.

I've done a couple of posts on Robert Reed's Greatship series, about a giant spherical Uranus-sized megastructure moving through space at a third the speed of light. It's discovered in intergalactic space and claimed by humans, who then invite anyone who can pay in some manner (resources, technology, science, or even just interesting stories) to join on a cruise around the Milky Way.

Ned Block has a new paper out, for which he shared a time limited link on Bluesky. He argues in the paper that the “meat neutral” computational functionalism inherent in many theories o…

I've noted on this blog many times that I'm not much of a horror fan. But the Alien franchise has always been kind of an exception. Space horror might be a little better than the garden variety, just because it's space. But mostly I just enjoy the sci-fi worldbuilding, usually in the early stages of each movie. I'm less enthusiastic about the parts where we watch people die one by one, although the…

A few weeks ago, I talked about Robert Reed's story collection, The Greatship. It's about a spherical Uranus-sized megastructure moving through space at a third the speed of light. Humans manage to reach it first and claim it, and then decide to take it on a tour of the galaxy, offering passage to anyone who can rendezvous and offer payment of some kind.

For people looking to dip their toe in the sci-fi literary genre, John Scalzi is often a good place to start. A lot of sci-fi literature assumes certain knowledge from the reader (such as what "burning at two gees" means). Scalzi's fiction tends to only assume what you might pick up watching sci-fi TV shows or movies. And his introduction of concepts is usually fairly approachable.

I recently finished reading Peter F. Hamilton's book: Exodus: The Archimedes Engine. It takes place in a far future where humanity has fled the solar system in relativistic ark ships, looking for new homes. One group of arks discover a bounty of habitable worlds in the Centauri Cluster about 16,000 light years from Earth. Someone named Asteria sends out a "Green Worlds" signal to all the other arks out there.

I've described Neal Asher's Polity universe many times. It's a future interstellar civilization ruled by AIs, who took over in a basically bloodless "Quiet War", but who seem to rule humanity more or less benignly, providing a society where everyone is immortal, if they choose to be. Although as anyone who's read the books knows, the "more or less" here is doing a lot of work.

There's been some attention lately to a contest on designing an interstellar generation ship, a large scale ship that humans live in for generations while it crosses interstellar space to another solar system. As Paul Gilster at Centauri Dreams notes, generation ships are a long time staple in science fiction, albeit with the common trope of the crew forgetting that they're on a ship, or other things going horribly wrong.

In the last post I said I'd get back to Robert Reed's Greatship series. This week I read the main story collection for that series: The Greatship. This is a collection of novellas and novelettes, which seems to be the format Reed really shines in. These are all separate stories, but they take place in a shared setting, with repeat and crossover characters.

Multiple people have recommended Robert Reed's books over the years. I started to read his Greatship stories many years ago, but got distracted and never made it back. Recently I came across a recommendation for his book, Sister Alice, as an example of hard science fiction space opera, and decided to check it out. Published in 2003, it's a fix-up novel, composed of five stories which were originally published in…

It's been a while since I've read a Greg Egan book. I often love the ideas he explores, particularly in Diaspora. But I sometimes find his stories difficult to get through. That was definitely true of a previous book I read, Incandescence, which takes place in the setting of an interesting interstellar civilization. But the story seems to slide into a thinly veiled tutorial on general relativity.

When I was young I read a lot of Arthur C. Clarke's books. With one of them, I remember having a strong sense of deja vu. It seemed like I knew the story already, sort of. It was very familiar, yet surprising in many details. I don't remember which one I read first, Against the Fall of Night or The City and the Stars…

A few years ago David Bourget and David Chalmers did a follow up survey to the 2009 one polling philosophers on what they believe about various questions. One of them was quantum mechanics, particularly the measurement problem and its various interpretations. Over the decades there have been surveys of physicists themselves on this question, but most, if not all, were with a very small sample size, usually only the attendees at a particular conference.

When I picked up Iain M. Banks' book The Algebraist, I thought I was starting a Culture novel overlooked until now. (The way Amazon listed the book encouraged this belief.) However, while it is space opera on a grand scale similar to a typical Culture novel, it takes place in a different fictional universe, one where the technologies are a bit more grounded, but with very rich worldbuilding.

The other day I came across a video of Hank Green comparing Ursula Le Guin's Ekumen civilization to Iain Banks' Culture one. (I discussed the Culture a few weeks ago). It reminded me that I had never gotten around to reading Le Guin's classic Hugo Award winning book: The Left Hand of Darkness. I decided to rectify that this week.

I was initially leery of picking up Adrian Tchaikovsky's latest book Shroud. It seemed to have a space horror vibe, and while I've enjoyed a lot of Tchaikovsky's work, I'm not a horror fan. I don't mind if a story has elements of it, but usually don't enjoy straight horror. Thankfully, Shroud isn't horror, but more a demonstration of how hard it could be to communicate with an alien intelligence living in a radically different environment.

Basically, oversized and terrifying corvids.

Iain Banks' Culture setting is probably the closest thing to outright paradise in science fiction. It's an interstellar post-scarcity techno-anarchist utopia, where sentient machines do all the work and the humans hang around engaging in hobbies or other hedonistic pursuits. Some do choose to work, but there's no requirement for it since money isn't required. Everyone is effectively immortal and lives as long as they want.

Not Till We Are Lost is the fifth Bobiverse book by Dennis Taylor. I've been following these books for years. Although there's usually a delay in reading new releases because they're initially exclusive to Audible. I do listen to the occasional audiobook, but most of my reading is Kindle editions. Thankfully they subsequently get released under Kindle Unlimited, which is nice.

For some reason I had never read Joe Haldeman's The Forever War, and recently decided to remedy that. Like most classic sci-fi novels, it's a quick read, much shorter than most contemporary novels. It's often been called a Vietnam veteran's response to Robert A. Heinlein's Starship Troopers. Haldeman himself disputes that, although he admits it's heavily inspired by Vietnam, and overall much more antiwar than Heinlein's story.