Before one can talk about the posthuman, one needs to accept the fundamental materiality of the human body. This is because consciousness itself needs to be located in its material receptacle, the physical human body, if it is to be deemed as capable of transference, for instance, in the process of mind uploading or brain
Two classics of silent era SF, Fritz Lang and Thea von Harbou’s Metropolis, and Alexei Tolstoy’s Aelita (1922) adapted for the screen by Yakov Protazanov in 1924, represent the impact of political movements on scientific development and visions of human futures. Metropolis has been endlessly interpreted and reinterpreted as representing, at various times, Bolshevik or
“If, as Brian Aldiss contends, Frankenstein was the first true science fiction novel, it was also, appropriately enough, centrally concerned with the very dialectic that gave the mode birth. Whereas a fantasist of previous eras could have conjured the monster as a golem with an incantation or two and gone on to tell the same
Sometimes, science fiction cover artists get it right, and the result is great. Generally they get it wrong. And sometimes, they get it, well, I don’t know. Like the beefcake Gandhi-Rambo in Mike Resnick’s Alternate Warriors:
THOMASINA: When you stir your rice pudding, Septimus, the spoonful of jam spreads itself round making red trails like the picture of a meteor in my astronomical atlas. But if you need stir backward, the jam will not come together again. Indeed, the pudding does not notice and continues to turn pink just as before.
“Dear, when on some distant planet We, love’s protestants, alight, How, in our deep-space-diver suits Shall our devoted limbs unite You shall have those ruby lips In a helmet-bowl, inverted On your golden locks, enclosed: Your starry eyes shall be inserted In a plastic contact-vizor To keep out the stellar cold. And your teeth of
“Science fiction, like medieval painting, addresses itself to the mind, not the eye. We are not presented with a representation of what we know to be true through direct experience; rather we are given what we know to be true through other means—or in the case of science fiction, what we know to be at