Typeset in: Archivo Black by Omnibus-Type and ITC Galliard Roman by Matthew Carter Research and Writing by: Richard A. Stock Concept and Design by: Richard A. Stock Published by: Blurb and Champlain College
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CONTENTS INTRODUCTION 05 05 08
PROJECT OVERVIEW MISSION STRATEGY
AUDIENCE 12 13
TARGET AUDIENCE REFLECTION
THEORIES 16 20 26 29
MEDIA STUDIES FILM AND LITERATURE SCIENCE REFLECTION
IDENTITY 32 36 38 40
NAME/LOGO TYPOGRAPHY COLOR TONE
OUTCOMES 44 45 46 47 48 50
SCIENCE FICTION TIME-LINE FUTURIST POSTERS REGIONAL FAIR POSTCARDS REFLECTION CONSEQUENCES CONCLUSION
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We’ve always defined ourselves by the ability to overcome the impossible. And we count these moments. These moments when we dare to aim higher, to break barriers, to reach for the stars, to make the unknown known. We count these moments as our proudest achievements. But we lost all that. Or perhaps we’ve just forgotten that we are still pioneers. And we’ve barely begun. And that our greatest accomplishments cannot be behind us, because our destiny lies above us. -Cooper, Interstellar (2014)
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INTRODUCTION
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PROJECT OVERVIEW Beyond is an informational campaign that’s intention is to show young adults the true possibilities of science fiction and answer the question of how it has influenced the future. This project is vital to our current world due to the fact of its capability to inspire future generations as to what lies in our future. This campaign will inform young adults, of the past and guide them to design for the future. It also focuses on technologies that came from science fiction, and how they interact with modern society. Taking references from Film and Literature, I will be showing the science fiction links to factual creations. With Beyond I aim to ask young adults how is science fiction influencing our future here and now, and are we prepared for living in the future?
MISSION Beyond endeavors to show young adults the connections our world has with science fiction. The goal of Beyond is to bring awareness to the fact that science fiction has had an influence on our daily lives. It will also explain how we can possibly study it to design a better future for ourselves. Many scientists of the world today focus more on how to solve existing crises, while we should be considering the puzzles of the future. One of those puzzles being the next frontier of outer-space. This will require us to invent and innovate for new ways of living in space. There are many science fiction ideas that have an influence on culture and science itself. Beyond will celebrate science fiction and its impact on our day-to-day lives.
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WHY? Today, we see most science fiction in films or novels showing up as potential inventions that help us in the future. These range from flying cars to holographic imaging systems; from interstellar travel to artificial intelligence robots. There are multiple ideas from science fiction that actual scientists are currently working on, but as a society, we do not know of these endeavors. Science and science fiction may seem like two separate entities, but they are intertwined. The perceived disconnect does not allow us to believe that the fascinating inventions in science fiction stories are completely possible in real life. The more that we see the links, the more that we can develop new and exciting inventions for the future. Science Fiction enthusiasts believe that “at some level, SF does more than simply give pleasure, it serves an important educational purpose: by engaging us in the act of imagining the unknown (they tell us) SF prepares us for the future,” (Huntington, 345). Educating people on science fiction is one of the only ways we can show them the origins of most of our current technology. Daily devices were thought up in the minds of brilliant authors like Jules Verne, and television writers such as Gene Roddenberry. These devices have a way of expanding our knowledge and our way of life. It is amazing to think about most of our modern-day appliances and see where the original idea for them came from. Scientists today are working on inventions that help the world become more efficient and cleaner. Drones, recycling processes, robots, transportation, medical devices, 3D printers, battle suits, virtual and augmented reality, all technologies that are in use at research and development laboratories around the world. Technology is an essential part of our society, taking on many roles for the consumers it serves. As a futurist, I see the role technology has to play in advancing our society. I am always thinking about the future and what our society will look like. In undertaking this project, I am critically reading science fiction literature and training myself to look 10 or more years ahead to the future. I am learning the connections with science fiction and bridging the knowledge gap for my young adult audience.
The possibilities of the future have been shown in a pleasurable form when displayed in science fiction. Although there are different futures in many science fiction novels, the ones we need to focus on show our future as positive. This project, if done correctly, can inspire young adults to imagine and design for an optimistic future. We want to avoid becoming a dystopian society living in a desolate wasteland. Human nature propels us to envision the future, and science fiction offers us fictitious landscapes that are the reference point of which we can build off of. Science gives us a wholly realistic way of thinking which sometimes bars us from thinking creatively. As John Huntington says, “Science deals with necessities, fiction offers freedoms.” SF can give us abstract worlds where technology has a different meaning to us as it does presently. Essentially, “science explores and explains what absolutely must happen, while fiction creates its own sequences and consequences,” (Huntington, 347). Investigating the effects of science fiction on the world today will help us see the influence of science fiction on the future.
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STRATEGY Science Fiction is a type of fiction based on a scientifically or technologically advanced imagined future. With that in mind, how does one see imagined science becoming real? The relation between science and science fiction is less publicized than most might think. “Thus far the academic approach to science fiction has paid insufficient attention to its visionary dimension,� (Ketterer, 247). With modern day education, science fiction is pushed to the side and dismissed as pure fantasy without the recognition it deserves. With Beyond, I plan to reach those who have not gotten the science fiction education that they need for the future. I will have a design strategy that displays proofs of science, stimulates nostalgia of imagined inventions, and promotes the viewer to conceive a future to be excited about. The visual aspects of the project will be attractive and stimulating to reach my targeted audience. I want to make the information accessible and digestible to young adults, so they can quote the work to others with ease. The design ought to be fluid and organized as I am talking about science. I will show my work process in a way that resembles the scientific method. This allows Beyond to connect to scientists themselves as well as the targeted audience. The information portrayed to the viewer should be clear, yet also intellectually stimulating to promote personal connections with the project. Beyond should communicate optimism of the future, while still recognizing the dystopian novella. The information should be told almost as a story in sequential order to show the history of science fiction. The tone will include a rich selection of evidence, bold nostalgic colors, and a sleek design that keeps the information organized.
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WHY? Organized story-like communication to young adults about science fiction is lacking from our culture. Many young people often read science fiction without knowing how it can help them in the future. I can use my knowledge of certain science fiction stories to shape my future. These stories have been important to the design world I am entering. Creating a design strategy that includes boldness, nostalgia, and true information gives me the opportunity to engage with my viewers on a deeper level. They will feel attached to the nostalgia, attracted to the bold design, and connected to the information I am telling them. This informational campaign is immensely important since it may be the only way that we are able to learn about science fiction in an educational format. Most science fiction is told through films and novels. However, in these representations, the technology does not seem real. Making technology realistic to us is one way that Beyond will be able to connect to us on a deeper level. The design of this process is significant as it gives the viewer a way of digesting the information allowing them to make connections with their own life. The brand needs to inspire optimism of the future, and my deliverables can achieve that. Branding a regional world’s fair type event will allow the science fiction community and the scientific community to come together. A diagram presenting the links between modern day technologies and the science fiction technology that inspired them will enlighten the audience of the strong influence. Posters that advertise the importance of designing for the future can help my viewers to feel the need to become futurists themselves.
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The moon, by her comparative proximity, and the constantly varying appearances produced by her several phases, has always occupied a considerable share of the attention of the inhabitants of the Earth.
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-Jules Verne, From The Earth to The Moon (1865)
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AUDIENCE
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TARGET AUDIENCE Beyond’s target audience is Young Adults between the ages of 20 and 30 who are interested in Science Fiction. The large culture of those who love science fiction has a great amount of pull in the world on various issues. Revealing the truths behind science fiction and the real world will give young adults the opportunity to continue using science fiction to determine the future. Beyond is also targeting young futurists who desire the education in science fiction that they need for the future. Young adults are more prone to be interested in science fiction than other generations. This is the time to attract them towards incorporating science and technology into their lives on a meaningful scale.
WHY? Young Adults have much of their lives ahead of them. As part of this generation, I was inspired by certain science fiction film and novels to become a futurist. Hollywood has targeted us with a science fiction message. Using films like Star Wars, Blade Runner, Marvel’s The Avengers, Interstellar, etc, Hollywood has inspired us. We are being shown possible futures every year with each new film in the science fiction realm. In this campaign, I will prove the validity of science fiction in the world, and the fact that it is not just SFX and CGI technologies. According to research, as our relative understanding of technology has improved, so has our assumptions about what would make sense in the future. Had touchscreens been imagined in 1927, showing them then would have been more future-reaching, but also would have pushed the audience outside the boundaries of their understanding. The facts that I share in this project are not too far reaching as to lose the audience with nonsense.
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REFLECTION After deciding on my audience and strategy, I feel connected to the project more directly. I now have the drive to complete the research. Looking at science fiction will be an interesting task as I have mainly read Star Wars and a minimal amount of other SF books. I believe that this could hinder my expectations of the future, however, I am excited to learn about the real possibilities. The reason for my target audience being young adults was that many people I have talked to over the years can only understand science fiction and not its scientific fact. They believe many endeavors to create advanced technology are dead. I do not share their sentiments as I have much more hope for the future. Although social climates today prevent us from focusing on these scientific experiments, we have to readjust our efforts to experiments that will lead to the future. Science fiction and its influence should not be too hard to prove as the effects of it can be seen each day. It will also be interesting to see how media figures play into the overall theme of science fiction.
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I think that most of us, anyway, read these stories that we know are not “true” because we’re hungry for another kind of truth: the mythic truth about human nature in general, the particular truth about those life-communities that define our own identity, and the most specific truth of all: our own self-story. Fiction, because it is not about someone who lived in the real world, always has the possibility of being about oneself. - Orson Scott Card, Ender’s Game (1985)
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THEORIES
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MEDIA STUDIES Science Fiction has been introduced into our lives by people with authority. Whether they be authors, movie directors, scientists, or even producers on television. They all may have different ideas on what science fiction is, but their thoughts have given us memorable experiences that piqued our interest in the genre. It may seem as though these authoritative figures have a power which looms over all of us, but in fact, they are just regular beings who we have given special powers to advise us on the world. These figures and the power they represent fall into the realm of media studies. Media Studies is the study of media as a purely academic subject. Although I am not looking at media in general, my focus lies on the media figures, who we trust, that relay information to the public. For this case, I will investigate who the authoritative are in media, where does most of the information come from, as well as the forms of entertainment that are most appealing. From a highly regarded news anchor on a television broadcast, to a big budget Hollywood director, to an award-winning scientist; these are the some of the people we put our faith and trust in. Average people rely on these figures to pass along information about the world and about their potential place in it. It is up to the information gatherers, the writers, to collect the information for the speaker. The speaker then explains it all to the people in that calm and reassuring voice we all love. Young adults value people who do not have fickle opinions, someone who says what they mean, and says it one way. Promoters of information give us the knowledge we need to live our lives. With those who entertain us with science fiction, it is important that they give some factual information with the fantasy that they portray. The imagined worlds of the future are not “real” in a sense, but the true possibilities of some of the information about them gives authority to their creation. According to the theory given by Leslie Stevenson, the author of Why Believe What People Say?, “Whatever anyone says about anything is, in the absence of contraindications, is worthy of belief,” (Stevenson, 430). If there are no opposing thoughts to those who speak information to the masses, it is assumed that they tell the truth and should be believed. Those who reveal
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potential futures show multiple ideas about where we are going as a society. Because a film director does not hold as much veracity as a scientist, their opinion of the future may not be reliable. The tradeoff is that since they are able to reach more people than a typical scientist, the information comes without any contradictions. Young adults learn through education, and that education relies on the credibility of the teachers. “If it were not for this latter ‘principle of credulity’, children could never learn what they need to know,” (Stevenson, 433). Teachers must be able to have their students ready to believe in what they are telling them. Most of the information that is told to my generation arises from social media, entertainment media, and the education establishment. The information that has come through the education environment is believed to be properly vetted and trustworthy, which gives it the legitimacy it needs. Young adults are more likely to believe the information that is taught to them through their respective educational systems. The information that is found out through social media and entertainment does have some effect on people, but they require the reader to do their own research. Education provides a single verified opinion, while social media does the opposite. “For Welbourne, a community of knowledge is thought to be extensible by teaching: science, he says, will owe its claim to be knowledge at all to the fact that it involves a consensus among rational people that this and this and this may properly be taught as fact,” (Stevenson, 444). In life as rational beings, we believe some propositions, in virtue of believing in others. With that in mind, our belief in one proposition, together with the facts about the situation we find ourselves in, gives us the benefit to believe in the other proposition. It also happens that if we believe both proposals, without the facts, we could believe something false. Thinking about how science fiction is told to us in entertainment and science, we may sometimes believe the entertainment portion of science fiction more than the science portion. As long as we have the facts, we can determine the difference. The main contrast is who is telling us the information about science fiction.
The difference between a movie director, an author, and a news anchor depends on the audience they reach. It is more likely that a news anchor can reach a larger audience than an author because of the multitude of televisions; an author normally has only a specific following due to the genre they write for, and a movie director can reach across multiple continents with the movie they create granting them the versatility to display information to the masses across the world. Directors mainly provide entertainment in one form or another, and on certain occasions the information they represent is true. The motives are sometimes self-serving, and sometimes for the greater good of humanity. Authoritative figures who provide accurate information characterize the theory of Ethos. Ethos is the ethical appeal, a means to convince an audience of the author’s credibility or character. Media figures will use ethos to show their audiences that they are a dependable source and are worth listening to. The theory explains the desire for an entertainer to translate information in an ethical and truthful way, to show their integrity. The trait to focus on here is the perceived motivation of the decision maker, a trait with obvious ties to the political world. Specifically, we analyze the effects of variation in the decision maker’s desire to make the decision, (Hibbing and Alford, 70). The relationship between the viewer and the author is made of trust. Since the beginning there has been a confidence that the author will display relevant information to the world we live in. The author will use ethos to demonstrate their fairness and expertise by using correct grammar and syntax. Young Adults are drawn to the truth, as most of society is. Fiction is not a true depiction of the universe, but an imagined reality. Novellas and film about science fiction give us a taste of dreamt inventions. Books with this high authority of science fiction include: 1984 by George Orwell, Dune by Frank Herbert, Frankenstein by Mary Shelley, War of the Worlds by H.G. Wells, and Fahrenheit 451 by Ray Bradbury. These have entered our society and been recognized as hallmarks of the science fiction genre. Films with a high authority of science fiction include: 2001: A Space Odyssey (Stanley Kubrick), The Terminator (James Cameron), The Day the Earth Stood Still (Robert
Wise), Alien (Ridley Scott), Star Wars (George Lucas), Metropolis (Fritz Lang), Close Encounters of The Third Kind (Steven Spielberg), and Avatar (James Cameron). All these films have a historical and cultural meaning to society and are affiliated as mainstream trends. The genre of science fiction has become culturally popular and is referenced daily in our lives, which gives it standing when discussed in scientific circles. The fact that the futures that were conceived by some of these films and novels have come true means that their sincerity cannot be denied. People care about facts, and the facts have shown that science fiction inventions can be created in real life. This has given people hope for the future. “The evidence that people are concerned with factors other than outcome is undisputed; instead, the dispute centers on the reason people are so influenced by the decision-making setting and by perceptions of the other people involved in the interaction,” (Hibbing and Alford, 62). We are nurtured to believe evidence when it is proven to us; so, when science fiction holds standing with the scientific community and has produced real outcomes, we take notice. This in turn allows us to trust those who talk of science fiction as authoritative figures. Beyond’s goal is bridging the gap between young adults and their access to the varying forms of real science fiction that exist. Beyond will bring factual information to the consumer without going through a believed authoritative figure. The areas of entertainment that are currently most accessible to young adults right now are film and novels, two methods where science fiction prevails. This campaign acknowledges the connection that these two forms of media have and creates a similar way of communicating that information, without a middle-man. The big idea that I see forthcoming is for young adults to “Think Futuristically”; becoming a purveyor of science fiction, I will be able to communicate that thought to the people.
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At some point, everything’s gonna go south on you and you’re going to say, this is it.
This is
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how I end. Now you can either accept that, or you can get to work. That’s all it is. You just begin. You do the math. You solve one problem and you solve the next one, and then the next. And If you solve enough problems, you get to come home. -Mark Watney, The Martian (2016)
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FILM AND LITERATURE Science Fiction literature is what begins the process of science fiction to science fact. From books and film, we gain new knowledge of possible inventions for the future. Writers can suggest their visions of the future on paper and create ways of understanding for those who read their novels. Furthermore, many science fiction inventions have been imagined in literature and created in real life. In this study, I plan to discover what famous science fiction literature has been created, why the literature has had such an impact on society, and how that science fiction has appeared today. One of the main aspects of science fiction is storytelling. Storytelling gives writers and directors a way of connecting with audiences on a deeper level and for them to understand these stories. To reach young adults, science fiction needs to be grounded in something that the its audience is familiar with. Film is a way of storytelling that has lasted since the beginning of the 20th century. Science Fiction film has been around since the beginning of film, showing us possible futures and miraculous events through the screen.
Some of the most famous Science Fiction films and television shows include: Metropolis by Fritz Lang (1927) Dystopian 2001: A Space Odyssey by Stanley Kubrick (1968) Utopian Planet of the Apes by Franklin J. Schaffner (1968) Dystopian Close Encounters of the Third Kind by Steven Spielberg (1977) Dystopian Star Wars by George Lucas (1977) Utopian Alien by Ridley Scott (1979) Dystopian Mad Max by George Miller (1981) Dystopian Blade Runner by Ridley Scott (1982) Dystopian E.T. the Extra-Terrestrial by Steven Spielberg (1982) Utopian The Terminator by James Cameron (1984) Dystopian Avatar by James Cameron (2009) Utopian Interstellar by Christopher Nolan (2014) Dystopian The Jetsons by William Hanna and Joseph Barbera (1962) Utopian
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Star Trek: The Original Series by Gene Roddenberry (1966-69) Utopian The Twilight Zone by Rod Serling (1959-64) Utopian and Dystopian Doctor Who by Sydney Newman (1963-present) Utopian and Dystopian The X-Files by Chris Carter (1993-2002) Dystopian Stargate SG-1 by Jonathan Glassner and Brad Wright (1997-2007) Utopian and Dystopian
In most of these films, the future becomes dystopian. Somehow our world is affected by some calamity and we are forced to look elsewhere for survival. The futures in most of these movies is also relatively bleak and depressing, but we still have advanced technology which has allowed us to evolve as more powerful beings. With films like Planet of the Apes (1968), Mad Max (1981), and Interstellar (2014), we are given post war and post-world scenarios, in which humanity is struggling to survive in the harsh landscape that it has morphed into. The reason for this style’s popularity is because as a culture, we enjoy seeing the struggle of man to survive, and the drama that comes with that struggle. Another reason we are seeing these types of film is because filmmakers are creating futures based off the current societal tendencies, which warn us of the dangers ahead. In television, however, the tendency is to create hope for the future. It is about the perseverance of the human race to evolve into a utopian society and interact with other life in the universe. Not all these interactions end up going well, but they happen at a frequent rate which shows the advancement of humanity. Science Fiction Dramas secure big profits; “the theater directly experiences the immediate sanction of the bourgeois public and can earn the institutionalized consecration of official honors, as well as money,” (Milner, 395). Science fiction film is seen through the lens of Hollywood as a way of telling dramas in future scenarios. Based off IMDB statistics, young adults prefer science fiction films more often than dramas. The Hollywood producers in cinema, however, have added dramatic undertones to these films to give them a human-like quality and ground them in the world today. The epistemology that we are creating when we see these films allows us to understand the
struggles of mankind through our own habitus. We are able to attach ourselves onto films which allows us to identify with the characters and the themes. In Science Fiction and the Literary Field, Milner states that “Bourdieu sees human sociality as the outcome of the strategic actions of individuals operating within a context of values, which he terms ‘the habitus’,” (Milner, 393). According to this, the reason that young adults are so invested in science fiction is the fact that they can use their habitus to attach their own meanings onto the film. Hollywood is in the business of making money, and drama is one of the big profiteers of the industry. Relating back to the theater, we see that drama throughout time has been the way to gather audiences from every background. With Science fiction film, drama is found in dystopian style landscapes more often than in the ideal utopian style city. Dystopia allows for the viewer to immerse themselves in the action and the environment of the landscape since it feels more plausible than a utopian future. Although I would like to see a brighter, more utopian style future one day, media portrays too much negativity about the future. Films about space and our journey through it offer us a taste of a future worth living for. Space is visually spectacular, and it requires great thinkers and builders to make our future involve it as the next frontier. The science fiction tendencies are to exhibit a “spectacular hypertrophy of the specifically visual dimension associated with science-fictional tales of space travel,” (Milner, 397). Starting at one of the first ever science fiction films, From the Earth to the Moon (1902), to the critically acclaimed Avatar (2009), we have seen the journey to space go from visually ground breaking to visually astonishing. Science fiction film has led to many advances in the special effects industry, allowing those who design these effects to become scientists and inventors themselves. “The relationship between science fiction and special effects (FX) is often mutually dependent since the genre needs special effects to showcase its future worlds and technologies while the imaginative demands of the stories themselves have spearheaded new developments of FX technology,” (Abbott, 89). Special computer-generated imagery (CGI) has given
us the visual side of the future. We have seen what our imagined world looks like 50 years from now because of technology and the creative thinkers of today. Although these are just effects on a screen, the ideas are real, and they help influence those who build these futures. “While effects designers throughout the history of cinema have walked a fine line between technician and artist, magician and inventor, the increasing use of computer technology for special effects has made them seem more like modern scientists than their predecessors,” (Abbott, 90). These designers are literally shaping the way we see our future with the creations they make for film and television today. The very techniques of filmmaking are increasingly the science fiction of today, (Abbott, 105). Media differs greatly from the visual side to the verbal side. With science fiction film and television, one is able to see the future as it is visualized on screen and they can take inspiration from that to create that specific future. With novels, one must envision the future themselves and contextualize their role in it. Science fiction’s literary side goes back all the way to the early 1800’s, where there was no way to view the future on a screen as we can today. Questions about the future stem from literature. Those with a philosophical mind can give suggestions of the future in novel form. Advancing technology takes many years, it begins with an idea and through the creative and scientific communities, the idea travels to become a prototype, and finally an invention that can be used by the public. The idea must be written down first, and that is where pure literature comes into play.
Some of the most famous Science Fiction novels include: Frankenstein by Mary Shelly (1818) Dystopian Twenty Thousand Leagues Under the Sea by Jules Verne (1870) Utopian and Dystopian War of the Worlds by H.G. Wells (1897) Dystopian
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1984 by George Orwell (1949) Dystopian I, Robot by Isaac Asimov (1950) Utopian and Dystopian Fahrenheit 451 by Ray Bradbury (1953) Dystopian Dune by Frank Herbert (1965) Utopian and Dystopian Hitchhikers Guide to the Galaxy by Douglas Adams (1979) Utopian and Dystopian Ender’s Game by Orson Scott Card (1985) Utopian Starship Troopers by Robert A. Heintein (1987) Utopian and Dystopian The Hunger Games by Suzanne Collins (2008) Dystopian Divergent by Veronica Roth (2011) Dystopian
From the novels I have listed, there seems to be a correlation between literature and film. These novels lean towards the dystopian side as does the film industry. Characters must persevere and survive in their own futuristic worlds. Many novels feature the dystopian future, as it is a way of prevention. 1984 by George Orwell is a great example of this as it has warned us of the heavy use of technology in this modern world. Notions such as “Big Brother is Watching You”, “Nothing was your own except the few cubic centimeters inside your skull”, as well as private information no longer being yours to control (Orwell, 1984). Even though these novels reference a utopian and dystopian future, they give us ideas of how technology can advance into something we could have never imagined before. “Science fiction fits into the literary model at two locations: The Voyages extra ordinaires novels written by Verne, and their dramatization for the theater by Verne and d’Ennery,” (Milner, 395). Science fiction can become a novel or a theatrical act (film), and it will still resonate with those who read and watch. The novels of science fiction come from a historical background as they comment on society’s advances and make critical suggestions of the future. The science fiction field is not located in some different space from the globalized general literary field, but it is rather fully within the latter. “The science fiction field can be visualized as a particular two-dimensional slice of the world literary field conceived as a threedimensional space,” (Milner, 395). The world literary field is comprised
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of all literature, and science fiction acts as a part of that space, of which it critiques society and evaluates the future of it. Science fiction novels attempt to create the literary effect which the public seeks in film. From Frankenstein (1818) to Starship Troopers (1987), the avantgardist tone comes out of these books. In the book, New Worlds by Michael Moorcock, one of the authors writes, “What you hold in your hands is more than a book, it is a revolution. It was intended to shake things up. It was conceived out of a need for new horizons, new forms, new styles, new challenges in the literature of our times,” (Milner, 404). The cultural changes that have blossomed out of science fiction literacy have become hallmarks of society today. We value science fiction novels for their prediction of today’s modern marvels and we attribute many features of pop-culture to their influence. The possibility of the future is not something to dismiss in novellas. The realm of science fiction is flourishing as new technology is created today which leads to new ideas of tomorrow. The role of the science fiction author is to bring these new thoughts to the reader and encourage them to use their habitus to innovate for the new world. “What we do not do when we write science fiction is attempt to predict the future, and even when we accidentally somehow do describe the Shape of Things to Come, we don’t score points by getting it right,” (Gaiman, XII). It is also important for the reader to analyze their place in the novel for they gain a strong bond with the world they read about. In literature, Pathos is used to invoke sympathy from an audience; to make the audience feel what the author wants them to feel. An emotional connection is created between the author and the reader, binding them together on a journey. Science fiction authors use pathos to make readers feel linked to the characters in the books they read; this empowers them to use their own deductive reasoning and play as a character in the book. As young adults are searching for ways of escape from reality, science fiction offers the perfect scenario for them to prosper and develop in emerging worlds. Pathos can be used to prompt action; it so happens that many science fiction novels have
accomplished that goal as we have seen today. We have made it to the moon and back; we have built robotic technology that has in turn built more robots; and we have invented the technology to contact someone on the other side of the world with the push of a button. Jules Verne would say we are living in a science fictionalized society. To target young adult readers, science fiction draws them away from reality allowing them to escape. Most young adult books today deal with science fiction and fantasy. Authors know that this can lead to younger readers becoming the inventors of tomorrow. The future is in the hands of the young, only they can make the changes we need to have the world of tomorrow that we dream of today. The theory of pathos is used in novels to appeal to young adults and their motives. Influential science fiction can help give them the spirit they require to believe in and build a brighter future. As Julian Bleecker says in Design Fiction: From Props to Prototypes, “Science Fiction can be thought of as a storytelling genre that creates prototypes of other worlds, other experiences, other contexts for life, all based on the creative insights of the author.” In other words, stories told through science fiction allow the readers to form personal experiences based on the author’s creative perceptions of the future.
The types of novels that are most likely to inspire young adults are those that can give a personalized adventure to the reader as they traverse the new worlds they read about. Utopian novels can present better futures for all and dystopian novels can show us the possibilities of humanity’s downfall. As a storyteller myself, I can explain the optimism of science fiction as well as inspire creation of new technologies through visuals. Douglas Adams has three rules that describe our reaction to technologies: First, anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works. Secondly, anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it. And finally, anything invented after you’re thirty-five is against the natural order of things. Young adults will be the arbiters of science fiction to science fact, and these new changes will happen as this generation embarks on a journey to think futuristically as they read and watch.
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“DON’T 24
” PANIC -HITCHHIKERS GUIDE TO THE GALAXY (1979)
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SCIENCE Science Fiction is written, the word is spread among the people, then the scientific community listens and invents. This process goes through cycles almost every decade. Technology is constantly advancing, and new ideas are fed into the system by consumers who want to see new changes. This section of this project explains exactly what has been created from science fiction film and literature. From flying cars in The Jetsons to personal communicators in Star Trek, we have been inspired and influenced to design and create future technology. Throughout the years, science fiction has inspired real life events and creations that have changed the world. World changing events such as the A-Bomb, space-flight, and landing on Mars have had a massive influence on our culture today. “Many members of the general public learn their history of science through popular culture. Whether viewing an educational series designed to instruct, a Hollywood film recreating a historical event, or a television series intended chiefly as entertainment, audiences learn about the history of the research enterprise and the historical impact of science, medicine, and technology on society,” (Apple, 750). The fields of science, medicine, and technology have all advanced with science fiction as the catalyst. Listed below are some of the inventions. Young Adults have learned about science fiction through multiple forms of media, and they have seen these fields advance while living their daily lives. The linkage between media and reality must be revealed. Popular culture has portrayed science as a way into the future. “Popular-cultural forms, including films and television, play a crucial role in teaching a large population about what science was, is, and should be. It is clear that many people learn just as much about the history of science from, say, films as they do from their formal education,” (Apple, 751). Through the proper forms of education, science has developed into a media hyped field for those seeking a new way of thinking. Teaching young adults where the technology in their lives came from is important for them to understand. The education allows them to form connections with science fiction now and see possible inventions for the future.
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Some of the most famous inventions inspired by Science Fiction include: The Submarine by Simon Lake (Inspired by Jules Verne’s Twenty Thousand Leagues Under the Sea) The Helicopter by Igor Sikorsky (Inspired by Jules Verne’s Clipper of the Clouds) The Rocket by Robert H. Goddard (Inspired by H.G. Wells’ War of the World’s) Atomic Power by Leo Szilard (Inspired by H.G. Wells’ The World Set Free) The Cellphone by Martin Cooper (Inspired by Gene Rodenberry’s Star Trek: The Original Series) The Taser by Jack Cover (Inspired by Jack Swift’s “Thomas A. Swift’s Electric Rifle”) QuickTime by Steve Perlman (Inspired by Gene Rodenberry’s Star Trek: The Next Generation) 3D Printer by Chuck Hull (Inspired by Gene Rodenberry’s Star Trek: The Next Generation) In-Ear Headphones by Nathaniel Baldwin (Inspired by Ray Bradbury’s Fahrenheit 451) Moon Landing by Neil Armstrong and Buzz Aldrin (Inspired by Jules Verne’s From the Earth to The Moon) The Roomba Robotic Vacuum by Helen Greiner (Inspired by George Lucas’ Star Wars) The Flat Screen T.V. by Donald Bitzer and Gene Slottow (Inspired by Hanna Barbera’s The Jetsons) Power Shoe Laces by Tinker Hatfield (Inspired by Hanna Barbera’s The Jetsons) The Debit Card by Seattle’s First National Bank (Inspired by Edward Bellamy’s Looking Backward) Geostationary Satellite Communications by The Soviet Union (Inspired by Arthur C. Clarke’s The Space-Station: Its Radio Applications) Artificial Intelligence by John McCarthy (Inspired by Mary Shelley’s Frankenstein)
These inventions have led us forward into the future. They have allowed us to communicate with each other around the world and travel to the Moon. As time goes on, science fiction provides the ideas, we provide the technology. Through technological advances,
we are living in a mostly utopian world compared to 100 years ago. Utopian Literature has led to many forms of utopia, however not all Utopias are good for everyone. Usually in these novels, there are revolutionists that fight the Utopian society for its exclusion of those who do not conform. In real life, our Utopian future can only come true if the world becomes more pacified than it is now. That said, on the way to a more utopian future, social scientists can read from science fiction and imagine new possibilities for the framework of society. There are three ways in which one can interpret any science fiction text: dominant, negotiated, and oppositional. In a dominant reading, the viewer accepts the information as completely true. In a negotiated reading, the viewer accepts most of the author’s statements, but asks questions on others. Finally, an oppositional reading involves the rejection of the writer’s sense of what is real and truthful, and they substitute an alternative interpretation. Science fiction has turned into science fact and this has led more active readers to critically examine the science fiction they analyze today. In our modernized world, new technologies are being worked on day by day. There is a large disconnection between the everyday human and the scientists who work in the laboratories. Bridging this information gap will lead to more involvement from the social community in science. Beyond improves the relations between the scientists and the average person using design media. “In our post modern, American way, we are alternately fascinated and bored by the media descriptions of cutting-edge scientific and technological areas such as reproductive technologies, genetic research, computing memory and speed, as well as other futuristic issues that impinge on our present-day reality,” (Colatrella, 554). To reach a younger adult audience, science needs to transform into a more thought-provoking subject matter so that there is a will to learn about it. Using the proper designs, I will have viewers take the information I give them and apply it to their lives using their own habitus. Since the age of world’s fairs in the U.S., there have been only several ways to access the knowledge that scientists study. Sometimes it feels like only those with access to the scientific communities are privy to the science facts
and research. Science fiction has recognized science in the modern world, and it has built off of it to make new worlds in novels and film. I have used my own epistemology to create this way of meaning for my peers, so they can understand science and science fiction together. As foretold in the 1964/1965 New York’s World’s Fair Souvenir Book, technology and science have advanced tenfold in recent years, surpassing even some scientists’ wildest predictions. However, today, there seems to be a lull in the advancement of science fiction ideas. Many governments and companies talk of the future and space travel, but the actual missions do not seem to be visible in the near future. If we are to advance our society, we must start with advancing our basic technologies; creating flying cars, creating global energy initiatives, public space travel, holographic systems, robotic servants, cybernetics, even recycled water technologies. These technologies are essential to reinvigorating the younger generation in the study of science. The types of inventions that are currently in the works include: biotechnology, like cybernetic limbs, commercial spaceflight, climate change research, fully renewable energized transportation, and drone technology. In the case of holographic technology, Virtual Reality is currently the precursor to true Augmented Reality and holograms. And since AR has had a massive public relations problem so far, the work has stalled. This confusion among consumers has led companies to quit their focus on AR. Biotechnology, however, is on the rise. “DARPA recently awarded $65 million to six different teams that will begin developing neural implants that convert neural activity into 1s and 0s of digital code,” (Engelking, D-Brief). The ability to meld the brain with a computer has been the goal of scientists for a couple decades. Being able to make neural pathway emissions turn into data can tell us a lot about how the brain works. Drones too, are becoming the next big technology that will hit the market within the next year. “In its quest to streamline consumption, Amazon has wholeheartedly embraced the promise of drones,” (Scharping, D-Brief). Amazon and other major corporations are using drones to their advantage, delivering packages at an astonishingly fast rate, getting to more dense
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and difficult places, as well as reducing carbon footprints. The future, as Amazon believes, holds the gateway to the personalized drone that can find one’s car, find a lost child, explore large landscapes, and help one see concerts at all angles. The new technologies being invented, and advanced today are no doubt momentous, but they lack a future where we can expand and explore who we are and where we are going. Science fiction has brought us many ideas that have inspired real world machineries, but it has also left various creations yet to be explored. We are in the age of information. Everything we build today most likely has to deal with the processing, transfer, or creation of information and products. The passing of information can lead to political and societal change as well. “I am bemused by how science fiction narratives serve as predictors of scientific discoveries and techniques, but I am more attracted to the power of science fiction to track and to motivate political and social change than I am in its ability to serve as a harbinger of scientific discovery,” (Colatrella, 557). Science Fiction is not just a perpetrator of scientific change, it is the herald of social change. In the case of relieving racial tension, Uhura played by Nichelle Nichols of the Star Trek series, was convinced by Martin Luther King. Jr. to stay on the show as one of the first African American actors in a non-stereotypical role. Star Trek has given us a glimpse into a galactic society with one goal, to base themselves on the principles of universal liberty, rights, and equality, and to share their knowledge and resources in peaceful cooperation, scientific development, and space exploration. These enhancements of social communication have made our society more connected and informed. The theory of logos is the appeal to logic. It is a means to convince an audience by use of logic or reason and is one of the best ways to communicate. Scientists use logos to cite facts and statistics, historical and literal analogies as they maintain a certain authority on the subjects. Writers of science fiction use logos as well to suggest that the creations they envision are possible in the worlds they make. Most science fiction novelists try to base their writing off real ideations, so as to put their readers in potentially real scenarios. Audiences of
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young adults want real theories to believe in. Connecting to them with factual information can lead to successful science fiction. Good science fiction can inspire consumers of the genre to shape the future as it has been dramatized in novels and film. “After all, fiction is so much about human drama, and so much drama is inscribed so vividly on our bodies,” (Ketterer Rabkin and Baccolini, 248). The near future holds multiple possibilities. Space travel is chief among them. Convincing the younger generations of a positive future will in turn lead to a positive future. “Most science fiction “does not seriously attempt to imagine the ‘real’ future of our social system. Rather, its multiple mock futures serve the quite different function of transforming our own present into the determinate past of something yet to come,” (Grewell, 26). The declaration of science is to gain powerful knowledge. There must be a push for the “knowledge of mars, for the knowledge of Earth, for the challenge, for the youth, for the opportunity, for humanity, and for the future,” (Collins, 39). The pursuit to explore the galaxy should be instilled in our education, preached by our politicians, and acknowledged in our own hearts. “The return to space and settlement of a new world is a noble experiment. One in which humanity has another chance to shed its old self and begin anew; carrying forward the best of our history and leaving the worst behind. Such chances do not come often, and are not to be disdained lightly,” (Collins, 39). It is adventure we seek, and through science fiction we gain adventures of the future. After reading this, I task the younger generation to become mathematicians, physicists, or designers, and construct the future they want to see.
REFLECTION After writing these three theories as related to science fiction’s influence on the future, I feel that my knowledge of science fiction has greatly improved. I have learned that this theory of technological process, as one author states it the “adjacent possible”, is changing our society and the cultures within it. I am concerned, however, that companies are focused more on profits and efficiency rather than breaking barriers in their areas of expertise. New science fact tends to come from this established and well-financed industry. New science fiction, however, can come from anywhere. The collective imaginations of those in the industry and those outside of it can build successful worlds for the science fiction genre. While I read the articles about film and literature, I understood that “viewers are not passive internalizers of meanings that are supposedly already there in the material. They actively construct the meaning of a text or film in light of prior understandings partly formed by their previous experiences with the history of science. And these understandings may often have come from representations of science in popular culture,” (Apple, 753). Thinking about space exploration and its relation to the entire process, the goal should be to explore the Unknown in the context of the Known.
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“
You know the greatest danger facing us is ourselves, and irrational fear of the unknown. There is no such thing as the unknown. Only things temporarily hidden, temporarily not understood.
�
-James T. Kirk, Star Trek: The Original Series (1966)
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IDENTITY
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NAMING From the multiple names I received, I had a couple that truly stuck out to me. The name BEYOND really stuck out since it speaks to the idea of the far future and exploring the unknown. Science is about making the unknown known, while science fiction shows the possibility of unknowns. Beyond has the dual definition of “happening or continuing after (a specified time or event)”, and “the unknown after death”, Beyond applies itself to both aspects of this project. Considering the potential future of humanity and making predictions of the future of technology is what I believe science fiction to stand for. Names like Future Now, Guided Futures, Impossible Prophecies, and Premonitions were too direct and did not have the right connotations. I was also interested in a name in the form of a rhetorical question like “Where are we Going?” An unforeseen consequence of the name is that it references Bed, Bath, and Beyond, which is in a totally different realm, as is Above and Beyond. I had no interest in my project sounding familiar with Toy Story’s Buzz Light-year.
LOGO When creating my logo, I started off thinking about the 80’s and the grid and synthwaves. I thought that the best way to represent the science fiction genre was to speak to everyone’s nostalgia of it. After choosing 80’s style colors and using imagery from that era, I crafted a couple logos. You can see references to Miami Nights, retro futures, and hand brush type. Although these were very “cool” logos, they did not represent my topic. I wanted to have something that showed the pulp fiction aspect of science fiction with the clean and straight edge style of technology. It all came together as I pulled the type apart into a long drop shadow shade of red and made the logo 3D.
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SKETCHES
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SKETCHES
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FINAL LOGO
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TYPOGRAPHY Type is important to my overall project. I need to tease the future in aspects of the main typeface. The treatment of the logo shows the nostalgia of science fiction. I chose Archivo Black for its durability of being a sub header font as well as the title font for this project. It is bold and dominant. In the logo I added a long shade to give it a pulp fiction comic style. Knowing that the name Beyond was not enough, I gave the tag line the same typeface without any adjustments. Archivo Black works well as an all caps font. The inspiration for the logo treatment came from the Google font, Bungie Shade by David Jonathan Ross. The tag line is a shorter version of “Science Fiction to Science Fact”. The paragraph type used is ITC Galliard Roman. The decision to use this font comes from the experience I have with it. ITC Galliard has been used in multiple science fiction books that I have read. Star Wars, in particular uses this font in its Aftermath trilogy. This font links the entire piece back to literature lens of my project. Another thought was to use the font Eurostile, as it is famously futuristic. However, I did not want to overuse Eurostile as it has been used in the New York World’s Fair Souvenir Book.
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ARCHIVO BLACK
ABCDEFGHIJKLMN OPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
ITC Galliard Roman
ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
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COLOR Originally, I was very interested in using neon colors, such as neon pink, neon blue, and neon purple. Although I loved these colors, they did not fit. After finding some more images of space and science fiction posters, I sourced their colors and got the red, blue, and white color scheme. Although these are commonly used, the way they represent space, humans, and technology, speaks directly to my project. Using the color reference image of the “Don’t Panic” on the back of the Hitchhikers Guide to The Galaxy, I was able to select the base colors of red and blue. However, I needed to make the blue more of a navy blue (darker) and the red had to be lighter. Once these colors had been completed, I added white to the mix as it was easy to read on the logo as the tag line and on the blue in general. In the process book, the headers would use blue type on white backgrounds and red type on blue backgrounds. I personally think that keeping the color palette recognizable makes it last longer in people’s brains. The color scheme will be used as backgrounds, pull outs, and labels in two of my deliverables. The third deliverable of the Regional Science Fiction Fair would be branded itself with a new set of colors, with a possibility of having one color from the main project. The color palette should allow people to reminisce in the age of space exploration in America. As they look at the entire brand, they will have more confidence of the future.
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CMYK: 100, 77, 68, 42 RGB: 0, 32, 53 HEX: #002035
CMYK: 6, 98, 89, 0 RGB: 224, 39, 50 HEX: #E02732
CMYK: 0, 0, 0, 0 RGB: 255, 255, 255 HEX: #FFFFFF
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TONE Beyond is epic, bold, futuristic, and comical. The colors allude to the images of space and futurist design. Using depth and 3D effects, I was able to create the feeling of going into the future with a strong and sturdy base. The whole campaign must speak of the epic proportions of science fiction and the future of the human race. Using references of color and design from history, one can feel connected to the layout of the project. Young Adults will be attached to the pulp fiction aspect of the design of this campaign, especially in the posters and the diagram. With the regional world’s fair event, the branding and tone may be brighter and have a little more flavor. This will have to appeal to multiple crowds. From these images, I chose the Don’t Panic poster as well as JPL poster. These informed me of how I should extend my type as well as the treatment of the logo. It had to be reminiscent of the vintage posters of the planets made by JPL (Jet Propulsion Laboratories). Lines that go toward the background represent depth and movement; they could be useful in further branding. I studied futurist design and posters to figure out the type of feeling I want to arouse in my brand. This research led me to rethink how we see the future; one as a dark and foreboding place, the other bright and welcoming. Having a good mixture of the two would add to the knowledge of multiple science fictions. The visual language represented here is bold on top of subtle. The techniques I plan on using in my outcomes include icons, vintage type or design, directional tools, and synchronized branding. “Brands are business ideas that have adhered to cultural influence”, this means that my brand and the sub brand have to adhere to the cultural influence of science fiction. Beyond’s brand responds to the spirit of the times and the fact that we are moving towards the future at a rapid pace.
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“
It doesn’t matter what you do...so long as you change something from the way it was before you touched it into something that’s like you after you take your hands away.
”
-Ray Bradbury, Fahrenheit 451 (1953)
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OUTCOMES
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SCIENCE FICTION TIME-LINE Time-lines are informative to the general population and have the design feel that allow them to be more memorable over a large space. A science fiction time-line allows the information from the research conducted to be presented in a visual manner. The time-line will show the thoughts of the science fiction inventions. It will visually illustrate the way novels and film have inspired real-life inventions. The graphics will have a futuristic icon quality to them bringing the design back to the brand as well as making it easy for the viewer to see the inventions. The time-line will be put up in the exhibition space as a floor to ceiling poster. This time-line will show the research I have done allowing someone with no knowledge of the project to understand the concept.
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FUTURIST POSTERS Posters are an effectual and visually pleasing way of raising awareness and excitement. A series of posters made to be displayed in schools, government agencies, and research and development labs will bring attention to science fiction and the future. These futurist style posters will give an experience of different futures using visuals related to Utopian and Dystopian literature. These posters will motivate those who view them to think critically about the future and their place in it. The poster campaign will pose a series of questions that will interest and puzzle the viewer about their conceptions of the future. The main goal of the posters is to be stimulating pieces that improve the ideas of the future and inspire young adults to become futurists themselves.
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REGIONAL FAIR POSTCARDS A fair is more than a collection of buildings, it is a collective sense of excitement. To help young adults gain an exposure to the scientific community and become builders themselves, I will create a World’s Fair Regional Event named after this project’s title, The World Beyond, that will evoke the essence of science fiction and the future. As I am conceptualizing the fair, I will not be creating the actual event. I will be creating the invitation postcards for the fair. To get an idea, the fair would be a tri-state fair in scale in which small size pavilions for companies and inventions would be created. The technology and science shown would all be inspired by science fiction. The fair would be open to all who seek to learn about the future and examples of future technologies. The reason for a smaller scale fair is to keep costs down, and it allows companies to directly come to the fair without going through an entire country to have a spot. The fair will hold events such as science fiction challenges, design contests, and experiencing virtual worlds. The fair will also have a small history museum that shows past science fiction inventions. The outcome of invitation postcards is someform of physical take home gift for the exhibition visitors. These postcards would show either the logo or monument of the fair and ask the reader to experience The World Beyond.
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REFLECTION Reflection to come after outcomes are produced.
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FORESEEN CONSEQUENCES POSITIVE:
•• More young adults are inspired by this campaign and become futurists and seek to re-imagine and redefine the future. •• People become attached to science fiction and understand its importance to society. •• People gain a more optimistic perception of the future than before. •• Scientists realize the importance of explaining their inventions and research in a compelling way to gain support from the community. •• Regional Fair becomes real and is held annually as a national exhibition. •• Science Fiction predicts more inventions and products in the future.
NEGATIVE:
•• My target audience does not understand why they are so important and ignore the prompt that has been given to them. •• The research of this campaign does not have enough to catch the interest of the normal individual, causing my project to fall on deaf ears. •• Science Fiction is seen as too “fake” and is not taken seriously enough for the architecture of the future. •• The research is not presented by a “known” Authoritative Figure, so the audience remains skeptical on the future. •• Because the campaign is very forward thinking, the information may not relate enough on a personal level at this time. •• Viewers, after reading this campaign and seeing the outcomes, may not feel empowered enough for designing the future.
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UNFORESEEN CONSEQUENCES POSITIVE:
To be completed once outcomes are produced.
NEGATIVE:
To be completed once outcomes are produced.
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CONCLUSION Conclusion to come after outcomes are produced.
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