Science Fiction Categories: A Proposal

1) I'm not accusing you of anything. I was attempting to explain your system to someone who seemed confused by it, and pointing out that it is not particularly different as a classification system from the sub-categories in the field, which are also loosely ordered by the amount and type of science in them. And that numerous fans make a distinction between stories on the basis of how the science is involved and handled, as you were doing, and some rate stories with very little science basis as not science fiction as you do with, for example, Hyperion, which you've brought up many times as an example.

2) Remember when I said that you bring up a lot that they should use some science fiction stories in school science classes and you said that you never said that, and we agreed that next time you did it, I would point it out to you and recently you did it on a thread and I pointed it out to you? And you did it here again: "But #5 could be far more useful in and educational setting than 1 or 2." This conversation is reminding me a lot of that conversation. :)

3) You have repeatedly given in conversations an opinion of writers who started writing science fiction as literature and concentrating on writing, characters, etc., instead of science (in the 1960's, 1970's,) as not really science fiction writers and have at times expressed that this style of writing that concentrates on writing, etc. was not very impressive to you, and that writing and character development was often not important to you compared to science content, although you didn't reject it either and read both kinds. That group of writers who concentrated on making narratives literary and moved away from science premises to sociological, sexual and political themes with experimental styles that you were talking about were the New Wave movement.

4) I never said anything about your classification system of science content as being subjective. I pointed out that it was objective. It measures stories purely on the amount of science content (though coming up with the measurement for a story may cause some debate among others.) Your classification system is not a classification system that ranks stories and does so by how much you like them. It is a classification system that simply organizes stories by science content, without ranking of subjective quality. This is what I was attempting to explain to the other person.

5) I said you had trouble with some use of quantum science in stories, and that trouble seems to be when they used quantum theories in a way that you find implausible, perhaps on that macro level you mention. You did at one point get into a long discussion with another member about the plausibility of aspects of quantum theory, re use in stories. I remember it because it went way over my head in terms of theory analysis.

Also, I would not try to put all of Bujold's work in the same category.

Fair enough -- she has a lot of different works, both SF and fantasy. But I was chiefly referring to the Miles series as an example.
 
2) Remember when I said that you bring up a lot that they should use some science fiction stories in school science classes and you said that you never said that, and we agreed that next time you did it, I would point it out to you and recently you did it on a thread and I pointed it out to you? And you did it here again: "But #5 could be far more useful in and educational setting than 1 or 2." This conversation is reminding me a lot of that conversation. :)

I am trying to find where I said anything like that. Why would I say that when I did stuff like this:

http://www.sffworld.com/forums/showthread.php?25017-SF-is-dying&p=558960&viewfull=1#post558960

psik
 
Psikeyhacker, posting on May 17th, 2013 in the "Does science fiction have a social function?" thread:

This was being discussed in the 1950s

Science fiction as a factor in science education†

Elizabethh H. Gross1, John H. Woodburn2
http://onlinelibrary.wiley.com/doi/1...30106/abstract

So what if it was deliberately presented to grade school kids that way as part of the curriculum?

psik

KatG, responding May 17th:

You said that if you brought up the topic of using SF novels and stories in science education, which I had felt you had done before, as opposed to English literature class, I should point it out to you. So here's me pointing it out to you.

See? We had this conversation before. You did in fact say something entirely like that.

But I'll tell you what, since you explain that your classification system is about the amount of science content and centrality of that content in SF stories, and not the subjective quality of the stories, but you object to me explaining to someone that your classification system is about the amount of science content and centrality of that content in SF stories, and not the subjective quality of the stories, because this is somehow vastly different, I will happily refrain in future from trying to explain to confused people your classification systems.
 
KatG said:
2) Remember when I said that you bring up a lot that they should use some science fiction stories in school science classes and you said that you never said that, and we agreed that next time you did it, I would point it out to you and recently you did it on a thread and I pointed it out to you?

My point is where did I claim I never said that. I have mispoken things on websites before, usually by leaving a word out and not noticing. But I have been talking about using sci-fi for science education or to encourage science education for I don't know how long. So my deliberately saying that makes no sense.

psik
 
Someone brought it back to the top of the stack.

Psikeyhacker, posting on May 17th, 2013 in the "Does science fiction have a social function?" thread:

KatG, responding May 17th:
You said that if you brought up the topic of using SF novels and stories in science education, which I had felt you had done before, as opposed to English literature class, I should point it out to you. So here's me pointing it out to you.

See? We had this conversation before. You did in fact say something entirely like that.

I think this is where you got what you are talking about:
I could provide you with many, many links to where you've talked about how you feel that they should teach science fiction stories in science class to get kids properly interested in science, albeit you were aiming more for junior high than university, to get them while they are young.
March 17th, 2013, 08:28 PM
http://www.sffworld.com/forums/show...w-SF-out-there&p=714027&viewfull=1#post714027

We have a problem with whatever you mean by "teach science fiction stories in science class". I never said what I would mean by that sequence of words.

psik
 
tumblr_mnxboxIr0b1rwkrdbo1_500.jpg
 
This may be interesting:

Why Readers Disagree

In her remarkable book Permitted and Forbidden Stories, Semantic Polarities and Pathologies in the Family, which should soon be appearing in English, Ugazio offers examples of this process from celebrated novels: all members of the Karamazov family, she points out, can be understood by placing them on the good-evil axis: the wicked Dimitri, the saintly Alyosha, and the more complex and untrustworthy Ivan who oscillates between the extremes. In Tess of the D’Urbervilles, on the other hand, the characters are fearful or reckless, patient or courageous, pusillanimous or bold. Of course they have other qualities too; they are complex, fully-drawn people, but it is their position along the fear-courage axis that is decisive as the plot unfolds. Moral issues in Thomas Hardy’s work usually present themselves in the form: Do I have the courage/recklessness to break this conventional moral rule?

http://www.nybooks.com/blogs/nyrblog/2012/apr/25/why-readers-disagree/

A lot of women reviewing Komarr by Bujold comment on the bad marriage and the dinner party debacle in A Civil Campaign.

psik
 
I think Parks' religious issues with his family may be giving him some baggage. I don't think we're much helped by a good-evil axis. If we were going to have one, then it would be D&D with chaotic good and lawful evil. :)
 
It's alive. It's ALIVE!

Sorry, couldn't resist.

Can we use technology to evaluate science fiction?

I know that is kind of funny but some of our educators are using computers to rate the Reading Levels of texts.

http://en.wikipedia.org/wiki/Flesch–Kincaid_readability_tests

Various methods use the number of syllables in words, the number of words in sentences or number of letters in words then apply some mathematical algorithm to the data. But they don't test for which words are actually used in the text. So big words about simple ideas get a high rating and short words communicating sophisticated ideas get low rating. Sounds like pseudo-intellectual obfuscation to me.

But what if we look for "real" science words in science fiction stories?

In her book Falling Free, Lois McMaster Bujold uses the word "engineer" 24 times, "gravity" 34 times and "orbit" 23 times. But in Shards of Honor she uses "engineer" 6 times, "gravity" 5 times and "orbit" 4 times. So searching on more than 100 "sciency" words like "electron" and "wormhole" and adding them all up will give different results for different books.

So I divide the word count by the kilobytes in the work to get a sci-fi density for the work. If a word only appears once it does not count. I don't know whether or not that is a good idea yet.

So the sci-fi density for Falling Free is 0.637 and for Shards of Honor it is only 0.265

But what about Bujold's fantasy works?

Those words do not appear at all in Bujold's Curse of Chalion or Paladin of Souls. But "sword" appears 85 and 65 times respectively and "magic" 33 and 16 times. They are also much longer books than Falling Free and Shards of Honor which are similar in size. Curse of Chalion has a sci-fi density of 0.146 while Paladin of Souls is 0.109

Ender's Game by Orson Scott Card 0.21
Dune by Frank Herbert 0.142

Brothers in Arms 0.526
Mirror Dance 0.454
Diplomatic Immunity 0.25
Captain Vorpatril's Alliance 0.178
A Civil Campaign 0.153

Excession by Ian M. Banks 0.345
Inversions by Ian M. Banks 0.083

Harry Potter 1 Sorceror's Stone 0.277
Harry Potter 7 Deathly Hollows 0.457

Deathly Hallows got a high score but what words were used how often?

The word "wand" was used 318 times and "wands" 39 times. Others were "sword" = 132, "magic" = 58, "dragon" = 43, "magical" = 42. Deathly Hallows is over one megabyte in length at 759 pages but uses only a few technical terms, and rarely, telescope, relay, radio and electric a total of 12 times in 198,000 words. It seems to be a lot of reading with no serious ideas about the real world.

Komarr by Bujold gets a lower density score at 0.37 than Rowling's Deathly Hallows even though Komarr is a shorter book which tends to raise the density. But the word usage is totally different.

"wormhole" = 48, "engineering" = 23, "engineer" = 17, "genetic" = 11, "oxygen" = 10, "orbit" = 9, "planet" = 9, "program" = 10, "atmosphere" = 10, "gravitational" = 10

So which would be more productive reading for a teenager?

But it is old science fiction that gets some of the highest scores.

Omnilingual by H. Beam Piper gets 1.37 even though it is only 97 kilobytes. The Secret of the Ninth Planet by Donald Allen Wollheim gets 1.67. It is so old, we do not even have a 9th planet any more. It is only 274 kilobytes but takes the reader on a tour of the solar system.

"Neptune" = 15, "solar" = 26, "Mercury" = 26, "orbit" = 29, "Venus" = 32, "planet" = 63

So how do we sort throuth the tons of sci-fi and fantasy STUFF especially when so much is easy to find and plenty is free?

http://yovisto.blogspot.com/2013/08/the-man-who-invented-science-fiction.html

psik
 
Last edited:
In her book Falling Free, Lois McMaster Bujold uses the word "engineer" 24 times, "gravity" 34 times and "orbit" 23 times. But in Shards of Honor she uses "engineer" 6 times, "gravity" 5 times and "orbit" 4 times. So searching on more than 100 "sciency" words like "electron" and "wormhole" and adding them all up will give different results for different books.

So I divide the word count by the kilobytes in the work to get a sci-fi density for the work. If a word only appears once it does not count. I don't know whether or not that is a good idea yet.

So the sci-fi density for Falling Free is 0.637 and for Shards of Honor it is only 0.265

psik

oh wow..

psik, I like your tenacity, but sometimes I question your sanity.. lol..

that seems like a ton of work and who knows what 'the density' will even tell you about a book


why does everything have to be grouped and categorized, anyway? what happened to reading for enjoyment and opening up your mind to exploring new themes, ideas, people and places? you either like what your reading or you don't. Simple as that and you can stop at anytime you like

Books are like people. You can categorize people as funny, shy, mean, kind, selfless, gay, straight, black, or white and you can base who you associate with on those categorizations... but what are you missing out on by not giving everyone an equal chance?

that's just my two cents anyway...
 
Last edited:
why does everything have to be grouped and categorized, anyway? what happened to reading for enjoyment and opening up your mind to exploring new themes, ideas, people and places? you either like what your reading or you don't. Simple as that and you can stop at anytime you like

If you want to believe I cannot do those things be my guest. It is just that some books that many people say are good I find boring. I do not see what is so great about Neuromancer for instance and am unimpressed with the Culture books though they get scores similar to Shards of Honor.

Why is what I am doing any more ridiculous than the Reading Level Algorithms some of our "educators" are using? I provided a link. They are using them to categorize what children should be reading and not even checking the actual words. Do people who are bothered by categorization actually have an antipathy toward science? Wasn't Pluto's category changed and that is why it is no longer regarded as a planet?

The program isn't that difficult and it is less work than reading the hundreds of works I have run through the program and it remembers the data better. Off the top of my head I could have told you that Falling Free was more technical than Shards of Honor but I could not have provided a detailed description of the difference. But it would have been little more of a vague feeling with mentions of Leo Graf, the engineer.

I guess thinking is a form of insanity.

But I suppose we would not have any real science without it.

I have noticed that most modern reviews, in the last 20 years, don't really discuss the science in the so called science fiction books.

What can you really say to people when recommending works besides, "I like this." and "I don't like that."?

psik

P.S. By the way, you cannot determine whether or not data is meaningful without collecting it and looking it over in the first place.
 
Last edited:
Okay, just because this is mildly fun to pick at:

Can we use technology to evaluate science fiction?

It depends on what you are using technology to evaluate in science fiction stories. Worth of science fiction, no. Other aspects, perhaps. However, for a lot of your post, you aren't evaluating science fiction; you are evaluating fantasy fiction and finding it deficient to you because it is not science fiction.

I know that is kind of funny but some of our educators are using computers to rate the Reading Levels of texts.

It's not really funny as there are too many texts for people to read them all and quickly enough to evaluate reading levels which are needed as baselines for classes. These programs coordinate the words used in the texts with the words being taught as vocabulary to grade schoolers in each year/age group. Some kids will be above those baseline levels and have an advanced vocabulary. Other kids will be below the baseline and have a smaller vocabulary and problems with long words and words with unusual pronouncements. The computer programs thus assist teachers on whether the text has vocabulary that the average student in the grade/age level will be able to handle alphabetically and phonetically, know and easily learn, and what vocabulary is better suited to an older age/grade level. The ages are done as a range of several years, with the understanding that kids who are more advanced can read books on an older age/grade level and children having problems can work upwards starting with stories on a lower age/grade level. It's meant to help the teachers with what books will be used in what classes so that children can develop their reading skills.

Various methods use the number of syllables in words, the number of words in sentences or number of letters in words then apply some mathematical algorithm to the data. But they don't test for which words are actually used in the text. So big words about simple ideas get a high rating and short words communicating sophisticated ideas get low rating.

No, it sounds like vocabulary. A big word is harder for a child to read, whether it's a simple idea or a big idea. Shorter words are easier to read and to learn, have fewer letters, etc. Vocabulary comprehension is another factor run through the programs. A word like ion is short and easier for a child to sound out, but would be considered a higher age level word. Common words like the, and, etc., are counted. Rhyming words are counted, etc. They've been doing this sort of thing for twenty-thirty years and the programs are designed by engineers as well as educators.

But what if we look for "real" science words in science fiction stories?

That wouldn't have anything to do with children's reading abilities and vocabulary abilities. Also, who is going to decide what is a real science word and what is not? There are a number of scientific terms that are disputed as being "real" science or not. New terms get invented all the time, but with the scientific process, it takes awhile before they become accepted terminology. How would those terms be counted? And even if a story is peppered with science terms, that doesn't mean the science in it is contextually correct. I can have a story that uses the word "engineer" in it 100 times and fill it with engineering and scientific impossibilities. Since you are concerned not just with the phonetic, structural aspects of the word for ease of reading but with their content, counting the mere presence of science words would not seem helpful to you.

But what about Bujold's fantasy works?

Why are you using a system you designed to test for the level of sciency words in science fiction stories on a fantasy story? We would already expect the amount of sciency words in a fantasy story to be low, especially if it is a pre-industrial historical fantasy or secondary world fantasy, such as Bujold writes in fantasy. You wouldn't really need to test it.

Curse of Chalion has a sci-fi density of 0.146 while Paladin of Souls is 0.109

I fail to see how they can have a science terms density of more than 0.0 when they aren't science fiction stories and are unlikely to use nearly any of your compiled sciency words. (You know that sciency is not actually a word, right?)

Dune by Frank Herbert 0.142

Are you not counting the spice as a sciency term? :)

Harry Potter 1 Philosopher's Stone 0.277
Harry Potter 7 Deathly Hollows 0.457

Again, why are you testing for sciency terms in fantasy fiction?

Deathly Hallows got a high score but what words were used how often? The word "wand" was used 318 times and "wands" 39 times. Others were "sword" = 132, "magic" = 58, "dragon" = 43, "magical" = 42. Deathly Hallows is over one megabyte in length at 759 pages but uses only a few technical terms, and rarely, telescope, relay, radio and electric a total of 12 times in 198,000 words.

Yes, that's because it is a fantasy novel, not a science fiction novel. Did wand, magic, magical, dragon and sword become sciency terms when I wasn't looking? Why are you measuring those words when your plan was to measure sciency terms? Deathly Hollows does use some tech terms because it is set in contemporary Earth and in our daily lives we do actually use technology like telescopes and electricity. Cars even. But it's not a science fiction story. Therefore, evaluating the science vocabulary content of Harry Potter novels does not allow you to measure the science vocabulary use of science fiction novels. You're using the wrong data set for your declared aims.

It seems to be a lot of reading with no serious ideas about the real world.

First off, again, it's fantasy fiction. Some fantasy fiction is set in the contemporary world, like Harry Potter. Other fantasy novels, however, are set in a pre-industrial historical period or an alternate version of the real world or in a totally imaginary world altogether. So saying that fantasy fiction is not about the real world is rather missing the point. Fantasy fiction may involve the real world or it may not.

Second, there are a lot of other things in the real world besides science concepts and science vocabulary. Family, let's say. Many fantasy novels have these real world things in them -- and therefore fantasy fiction can indeed look at the real world, by using the real world, or if the setting is different, mirroring the real world. The real world things that fantasy fiction looks at may or may not include science stuff. On average, science stuff will not be highly present in fantasy fiction. But that doesn't mean that it isn't looking at aspects of the real world. And it also has nothing to do with evaluating the presence of science vocabulary in science fiction.

And lastly, if your viewpoint is that the only serious ideas in the real world worth examining are science ones, then yes, fantasy fiction will mostly not interest you as serious. But if you are a person who believes that there are other serious ideas and topics to look at in fiction besides science, then fantasy fiction quite often is dealing with serious ideas, like love, loyalty, the costs of war, etc. It just doesn't happen to be concentrating on science topics because it is fantasy fiction.

Komarr by Bujold gets a lower density score at 0.37 than Rowling's Deathly Hallows even though Komarr is a shorter book which tends to raise the density. But the word usage is totally different.

Yes, that's because Komarr is a science fiction novel and Deathly Hallows is a fantasy novel. If you are measuring the science vocabulary of science fiction, then Deathly Hallows is an error in your data set and should not be involved.

So which would be more productive reading for a teenager?

Neither. You are measuring the presence of scientific vocabulary in science fiction stories, not how productive one science fiction story and one fantasy story are for a high school student's literature studies. If you were evaluating how productive either book was for a high school student's school literature studies and for placement in AP English and college English lit studies, then you would not be using the system of evaluating the presence of sciencey words. You would be evaluating other, ickier things like narrative techniques, metaphors, themes, etc. -- things that would develop the teenager's writing and reading skills, not the teenager's science skills. And again, no school is going to evaluate the presence of science vocabulary in a fantasy novel.

But it is old science fiction that gets some of the highest scores.

Yes, but it is old science fiction that has some of the worst, most incorrect science in them. Again, you can use the words engineer or gravity as often as you like in a science fiction story, but if you get the engineering wrong, that's not really sciency, is it? Very few of the old science fiction writers were scientists or had much scientific knowledge. Most of them had journalism and English major backgrounds. They wrote about meeting aliens. They wrote about space pirates. They wrote about impossible utopian futures and time travel. They made stuff up on dares from the magazine editors (do one about a robot toaster!) and when they were drunk. When they weren't writing science fiction stories, they wrote made up true confessions stories, mystery stories and erotica -- anything that would get a sale. They didn't worry about their stories being scientifically accurate. They've been terribly open about this. It didn't mean that they were never visionary. It didn't mean that they didn't have fascinating things to say about lots of social problems, and what we hoped to find out there in the great beyond. It didn't even mean that they didn't influence science and inspire people to become scientists (as did Star Trek.) But they weren't, on average, very sciency. They made up sciency words like positronic and slipstream. Are you going to put those words in the sciency vocabulary you are counting?

Even when they had accurate science, they couldn't necessarily predict where technology would lead us. A slide rule is a sciency term, and are even still used today in aviation and for back up ship navigation. But they've been replaced by calculators. Is the presence of the word slide rule in a story set in the twenty-second century really going to be productive for a teenage reader when that person will never likely see one unless he or she ends up taking very specialized engineering courses as an adult? If I have a slide rule in a fantasy story about dragons (which happened in the past,) does that really make it more productive as a reading tool or a science inspiration tool than a fantasy story about dragons without a slide rule? As you note, it's not just the presence of the words that matters -- it's what you are doing with them.

The Secret of the Ninth Planet by Donald Allen Wollheim gets 1.67. It is so old, we do not even have a 9th planet any more.

You mean the story about aliens who set up stations on Earth and the other planets to steal the rays of the sun, which will possibly cause the sun to super nova? And the plan can only be thwarted by a high school student because it was a YA novel? Yes, that's a terribly, terribly sciency story there. Involving Neptune, which isn't a planet. By Wollheim, who was a book and magazine editor with no science background. But he put a lot of sciency words in his story. About imaginary aliens, which we know is a serious idea in the real world. :rolleyes:

So how do we sort through the tons of sci-fi and fantasy STUFF especially when so much is easy to find and plenty is free?

We find stories we feel are interesting and we read them.

If the important thing to us personally is how many sciency terms are in a story, then we stick to science fiction stories -- not fantasy stories -- and we analyze them for the number of sciency terms in them. And then we read them, even if the science in them is gobbleygook, because they used sciency terms. If the important thing is whether the average nine year old could handle the vocabulary in the book because we are teaching them reading and writing skills, we analyze the words used in terms of length, ease of pronouncement, and other educational and cognitive development factors including some context (such as violence, sex and mature social ideas.) And then we let the nine year olds read those, while giving those nine year olds who are having trouble reading younger aged books to catch up. If we want to personally only read old science fiction, we read old science fiction. If we want personally to read only hard SF (lots of engineering and hard science content,) we try stories labeled hard SF that sound interesting to us. We may find some of those stories are not as hard as we feel warrants the label, and we may or may not like those stories anyway.

Now, will there ever be a numerical rating system of the hard scienceness of science fiction? (Not the hard scienceness of fantasy fiction because that's pointless.) People do make them up. But the data sets that you keep trying out keep changing. You start out with science vocabulary counting and then segway into fantasy fiction, for instance, which is not very scientific of you. Sticking to those books people have labeled hard SF would probably be best (with an exception for Bujold natch,) and then you could figure out how to evaluate those books for actual hard science content. Rather than just the presence of the word engineer, for instance, can you rig a counting program to look for more sophisticated engineering, physics, biologic and chemistry concepts expressed in the books?

But since you don't like fantasy fiction for its lack of science content, it doesn't make sense to measure fantasy fiction to see if it is lacking what you already know it's lacking. Or are you just trying to argue that teens should only read science fiction and not fantasy fiction? In which case the presence of sciency words really doesn't matter to that argument.
 
If you don't like Neuromancer because of the prose, or the plot, or the pacing, that's fine by me. But to post repeatedly about hard scifi and not acknowledge the creator of the term cyberspace, not to mention the predictor of things like modern hacking, computer viruses, virtualization, and several other concepts that have become commonplace is crazy. Neuromancer is written by an author who writes possibly the hardest science fiction ever written, if you include the fact that it is forward looking and absolutely prophetic. The fact that you mention Bujold (who I also enjoy) when she writes pure space opera with almost no scientific concepts, but pan Stephenson, who has the hardest scifi out there, is a mystery to me.
 
If you don't like Neuromancer because of the prose, or the plot, or the pacing, that's fine by me. But to post repeatedly about hard scifi and not acknowledge the creator of the term cyberspace, not to mention the predictor of things like modern hacking, computer viruses, virtualization, and several other concepts that have become commonplace is crazy. Neuromancer is written by an author who writes possibly the hardest science fiction ever written, if you include the fact that it is forward looking and absolutely prophetic. The fact that you mention Bujold (who I also enjoy) when she writes pure space opera with almost no scientific concepts, but pan Stephenson, who has the hardest scifi out there, is a mystery to me.

"the hardest science fiction ever written"

ROFLMAO

Most of that was done by John Brunner in Shockwave Rider.

Gibbson admitted he didn't know anything about computers when he wrote Neuromancer so how could it be hard science fiction?

I know I've read an article or two that mentioned Gibson knew virtually nothing about computers when he wrote Neuromancer, and a percentage of his readership was upset about that, viewing it as a kind of betrayal. The man who had created such a unique vision of a cyberspace-entangled future wrote the story on a manual typewriter. Would this be worth mentioning if a reliable source can be found? It's the most frequent criticism of the book I've encountered.

http://en.wikipedia.org/wiki/Talk:Neuromancer

http://www.qub.ac.uk/imperial/canada/gibson.htm

I watched Gibson on a TV program in the late 80s or early 90s where he admitted that he didn't know squat about computers and was surprised at how clunky they were after writing the story. It was made up without investigation and it shows. I built my first computer in 1978. I will grant he has an interesting imagination and now people are going to write code to virtualize his imagination. But Tron did it before Gibson. I may like authors but I am not really loyal to them. I don't have a problem with criticizing Bujold. I mean 700 years in the future with minimal mention of computers. Kind of silly.

Gibson is a Liberal Arts intellectual. It is the environment and atmosphere that he created in Neuromancer that a appeals to so many people, kind of like Dune.

How could he write "hard science fiction" about computers if he didn't know computers?

The trouble is so many readers today do not know what hard sci-fi is. There was also The Adolescence of P-1 and When H.A.R.L.I.E. was One. And of course there is The Two Faces of Tomorrow. James P. Hogan's book is definitely hard computer sci-fi.

Neuromancer is merely OK. Stuff from 1948 is better:

http://www.gutenberg.org/files/32498/32498-h/32498-h.htm

psik
 
If you don't like Neuromancer because of the prose, or the plot, or the pacing, that's fine by me. But to post repeatedly about hard scifi and not acknowledge the creator of the term cyberspace, not to mention the predictor of things like modern hacking, computer viruses, virtualization, and several other concepts that have become commonplace is crazy. Neuromancer is written by an author who writes possibly the hardest science fiction ever written, if you include the fact that it is forward looking and absolutely prophetic. The fact that you mention Bujold (who I also enjoy) when she writes pure space opera with almost no scientific concepts, but pan Stephenson, who has the hardest scifi out there, is a mystery to me.


Psikey's obsession with 1948 notwithstanding, Neuromancer isn't hard SF. The cyberpunk movement was in general regarded as not hard SF (and mistakenly as a threat to hard SF,) in the 1980's. It's only been in the last decade or so that publishers started calling cyberpunk stories hard SF. What cyberpunk was, was part of sociological SF, looking at how technology, political movements and youth culture could effect human culture and social structures in the future in the form of a noir thriller. Gibson is not a scientist, but he did research various bits of technology, journalist style. He did not predict computer viruses or VR or modern hacking, but what he did do was look at how those things would effect our society. A child of the counterculture, he took a punk rebel approach to what he saw as fascistic and authoritarian aspects of hard SF and SF, and thus in his work, how technology could be used to control society and also rebel against it. This became the heart of the cyberpunk literary movement, which was directly descended from the work of Phillip K. Dick and other 1960's counterculture and New Wave SF writers, including much of its political philosophies and attitudes on pharmaceuticals.

Like Ray Bradbury (also not a scientist,) and Aldous Huxley (also not a scientist and a partial ancestor of Dick's,) Gibson was quite good at predicting and satirizing how emerging technology would possibly shape culture or be adapted by humans in the future. Gibson was able to include Asian cultural aspects that were definitely relevant for technology (where for instance Japan was technologically ahead of Western culture,) and which had been largely ignored by SF writers in the past. He also reflected the temperature of the 1980's and early 1990's, in the last part of the Cold War and aftermath, where the nuclear threat of U.S.-Soviet relations colored work in comics, the newly emerging gaming industry, the rise of horror, movies, etc., and post-apocalypse dystopias were king.

Cyberpunk expanded to take in things like robotics, nanotechnology, environmental degradation and quantum physic premises, giving it a harder science edge, which is what led in part to its more recent labeling as harder than the average SF by publishers who know that younger fans don't care about old feuds. But it isn't really interested in science problems. Instead it is focused on politics, crime, philosophy, social structures, youth culture, art and gaming, and communication -- sociological sciences. It does so in the context of technology (although sometimes not very accurately,) -- the Singularity, etc., but it is less interested in exploring how these technologies work than their aftereffects on society and usually in terms of suspense thrillers and conspiracy stories.

When Stephenson came along in the 1990's with Snow Crash, he was understandably declared Gibson's heir. But while Snow Crash and Diamond Age are unquestionably cyberpunk, Stephenson didn't stay with cyberpunk. He moved into alternate history and other forms of sociological SF. (Although his last one, Reamde, moved back into cyberpunk.) Stephenson certainly dumps more hard science formulations and computer coding into his stuff than the bulk of cyberpunk, but a lot of his science material is questionable in accuracy or highly speculative. And it's not the point of his stories. Instead, Stephenson is fascinated with moral philosophies, even in something like Snow Crash, and definitely in Anathem.

Charlie Stross, who has worked in computers a long time, is an author who has actually sometimes fused hard SF with cyberpunk, but even he tends to lean towards the sociological and the political and heavy on the suspense. And he and other post-80's writers who get the cyberpunk nod don't consider what they do to be cyberpunk (though I don't see how you can consider Rule 34 anything else.) They see themselves as essentially post-cyberpunk. There are some cyberpunk authors who are computer scientists who had harder material -- Rudy Rucker, for instance. But cyberpunk was about the punk, and gaming and getting to live in a VR world and sticking it to the man and having the man often win in noir tradition, not looking at science problems. Peter Watts, a marine biologist, is a hard SF writer whose style is very cyberpunk -- the styles are not necessarily at odds. But Stephenson isn't Clarke, a guy describing space elevators he helped design, nor does he need to be.

Psikey has been trying to find a quick, scientific way to determine the amount of hard science content in SF stories, in part because he doesn't feel reviewers accurately provide this information. That doesn't mean he's sticking only to hard SF -- he likes Bujold for instance -- just that he wants to know which are which. But he also has a preference for concrete, physical aspects of science -- he doesn't count speculative mathematics as real hard science. So one way you could analyze texts quickly -- looking for the presence of formulas and graphs -- isn't likely to work for him. (And there are things like China Mieville making up formulas for magical energy in Presidio Street Station, which would skew the data.) There are two factors involved -- how central hard science problems and issues are to the story and how much of that hard science is based on actual, accurate hard science. That's not utterly impossible to objectively measure, but it is tricky to measure and probably impossible to do quickly and on a large scale. There will be plenty of crossover title arguments.

That being said, a lot of old SF was not hard SF. And a lot of the stuff that used to be called hard SF was not particularly scientifically accurate, even for its time. The percentage of SF authors who are also hard scientists or computer engineers has always been very small, and even when they are scientists, they may get things wrong or write sociological SF stories. So I don't know that Psikey can ever easily solve his conundrum.
 
Whoops! I was confusing Gibson and Stpehenson. My mistake - I was thinking Stephenson wrote Neuromancer. What I wrote was meant to apply to Stephenson, with his scientific background and hard science fiction. KatG does talk about Stephenson, but with no examples and all i can say is that I disagree and do not believe she is correct. His science is flawless, if you accept that some of it is predictive. Given how many of predictions have come true to the point where he should be collecting royalties on a lot of today's inventions, I think he gets an 'A' in that category as well. Kat, you may be thinking of his social predictions, where he frequently anticipates the fracturing of society into tribes, enclaves or even neighborhoods, which is not hard science fiction. But when he explains how the genetically modified rat things are rewired so that when they 'bark' it transmits a silent, wireless alert to other sentires in the area, that is just brilliant predictive science right there.

Now that I think about it, what is hard scifi? Either it uses only exisitng science, which means it isn't science fiction at all, or it makes predictions based on scientific principles that don't violate any known laws of science, in which case Stephenson is hard scifi. Bujold just uses magic - she needs a ship that travels in space, so she has one. She needs a gun that fires thousands of tiny darts, so she writes one in. She doesn't worry about how many the gun could hold, what they are made of, or what the propellant is - those are the things Stephenson would make sure he understood before he wrote one into his novel.
 
Bujold just uses magic - she needs a ship that travels in space, so she has one. She needs a gun that fires thousands of tiny darts, so she writes one in. She doesn't worry about how many the gun could hold, what they are made of, or what the propellant is - those are the things Stephenson would make sure he understood before he wrote one into his novel.

If any of Bujold's works has a chance of being regarded as hard SF it would be Falling Free.

Other works have more of scientific mind set than fit into the usual hard SF structure. Bujold was a pharmacist not an engineer dealing with physics though her father and brother were engineers. The scientific attitude shows up more in the dialogue, like between Cordelia and Vagaan in Barrayar and the treatment of the wormhole technology in Komarr.

It has been a long time since I read Neuromancer. I have tried rereading it twice since it became famous and could not get through it. I could not get interested in the characters or what they were doing. I couldn't take the AI seriously.

psik
 
What I wrote was meant to apply to Stephenson, with his scientific background and hard science fiction.

Phil, you are the first person I've ever encountered who thinks that any of Stephenson's works are hard SF. Stephenson himself, as far as I know, has never claimed his works as hard SF. Stephenson does have a tech and science background, and certainly he's good at researching science and science history -- his crypto stuff in Cryptonomicon (my second favorite of his,) is really interesting. But Stephenson is not considered to have made any real significant predictions in his fiction (not that I personally believe that's a required goal of SF.) (Whereas to be fair, Gibson did about how tech would be used and about cultural changes in general, for all his lack of science background.) Cryptonomicon, in fact, it's been argued to me, barely contains any SF elements at all. But as an alternate history, as with his Quartet series, he's good at looking at intersections of emerging tech and social development -- sociological SF. Anathem is maybe his hardest SF story, but there are parts of that book, such as their invasion plan of the spaceship, that logistically and scientifically bend the bonds of credulity. I don't regard him as sloppy on science per se, but he certainly isn't flawless. But then, he doesn't have to be. Even hard SF authors often use devices that are not accurate but work with what they want to do in stories. In Anathem, Stephenson did do some interesting things with quantum theory re biology -- and I would have loved if he had concentrated on that. But the man loves to meander and what he was far more concerned with in that novel were issues of political and moral philosophy (pages and pages of it) and the protagonist's uncovering of a political conspiracy. Which is not unusual for his fiction (see Diamond Age.) The tech stuff was mostly just background to the sociological stuff. And Stephenson is acclaimed more for his interesting wide scope writing style (baroque) than with science problems in his stories. Essentially, Stephenson started out with SF-ey thrillers, moved into cyberpunk and then emerged with his own thing. And that thing fits in sociological SF, which is a broad sweep.

Hard SF are stories about hard sciences problems -- problems specifically of hard physics/astrophysics, biology, chemistry and to a slightly lesser extent engineering (and of course these tend to include mathematics.) Greg Bear, Greg Egan, Peter Watts, Clarke, Robert L. Forward, James P. Hogan, etc. write hard SF stories. These stories are often also concerned with sociological issues, but the main focus of the story is dealing with the hard science issue. Bujold's Miles series is what we have loosely come to call space opera -- a sprawling political and cultural adventure work. Space opera is a type of sociological SF. Psikey is perfectly aware of this and he has never to my knowledge called Bujold's series hard SF. He just likes it better than other stuff he's read.

There are some SF fans who believe that hard SF is the only actual SF. This to me does not work and lacks accuracy. The vaster number of fans, however, understand that SF is a wider marketplace of ideas about how culture, technology and science will all develop or might have developed if our existence is multi-dimensioned following some speculative physics -- everything from war to reimagining history to contacting aliens to what we would do if we could stop aging. SF includes things like adventure stories, mysteries, thrillers, romances, war stories, disaster stories, post-disaster stories, dystopias, coming of age, redemption stories, political stories, psychological studies, etc., that have SF elements -- things that do not/did not exist with a scientific basis. But the degree of the science used in a story is not set.

That's why psikey is trying to come up with systems for measuring it per story. But trying to measure that I don't think is easily reduced to a mathematical formula.

The reality is that we don't really know the impact of books until long after they are gone. Gibson's Neuromancer had a big impact on computer engineers, more than many hard SF writers. Isaac Asimov was a scientist and his work is often classified as hard SF, but it's really not. He didn't explain how to make robots -- he just looked at the cultural aspects of having them, etc. He made up the word positronic, which didn't mean anything. But so persuasive were the concepts in those stories -- and reasonably predictive as it turned out -- that his robot stories are routinely credited by scientists and engineers for sending them into science and robotics and had an impact on what they were doing. Even if his science wasn't always flawless or was simply silly, such as psychohistory (although based on marketing prediction techniques,) it had an ideological impact. Star Trek, as we've noted before, an adventure show, sent many people into the hard sciences and had a deep impact on aspects of technological design. SF isn't just to talk about science, as if it's non-fiction. SF is for looking at our world and what we've found in it and what we might find in it re the effects of science, while telling interesting stories thereby. Hard SF is a type of such a story. There are no inherent virtues in types of stories.

But Psikey isn't trying to measure inherent virtue, despite his dislike of certain stories. He's just measuring hard science content and its centrality to the story. And again, I think that's a tricky proposition to pull off with any accuracy and certainly isn't going to work by counting sciency words.
 
But Psikey isn't trying to measure inherent virtue, despite his dislike of certain stories. He's just measuring hard science content and its centrality to the story. And again, I think that's a tricky proposition to pull off with any accuracy and certainly isn't going to work by counting sciency words.

What degree of accuracy and certainty do you think I am trying to get?

This is about probability. The access to SF books has vastly increased since the 60s.

Suppose a reader's chances of liking a book are 33% based on random selection. What if data from my program increased the probability from 33 to 66%. How much time could that save for the reader?

I have never heard of anyone trying something like this so I am not making any claims for the results. It sounds to me like people do not want it to work. But maybe it is only of interest to people with hard sci-fi leanings.

But I have already found that the words I search on significantly affects the results. I increased the list from 130 to 170 words with largely an increase in the use of medical and biological terms. That had little to no effect on the majority of works but on some it increased the score by as much as 50%. I then added the word "castle" to the list. That word is totally irrelevant to most science fiction. But it turns up more than 50 times in Bujold's fantasy works, Curse of Chalion and Paladin of Souls.

So I figure specifying a number is not enough. The prospective reader should be told the 5 or 10 most commonly used words. Or maybe all words that turn up more then a certain number of times, possibly depending on the length of the work. If "sword" and "castle" are used a lot it is probably fantasy. LOL

Since Bradbury said his Martian Chronicles is not science fiction I am going to compare it to the Mars Trilogy by Robinson which everyone agrees is hard sci-fi to the point that many accuse it of being boring. But I have already noticed that Bradbury never used the word "gravity". How can you talk about colonizing Mars and not mention that the gravity is significantly lower than Earth's? A sure clue that it is not hard SF at least.

Data does not have to be precise and certain to be useful.

psik
 
Last edited:

Sponsors


We try to keep the forum as free of ads as possible, please consider supporting SFFWorld on Patreon


Your ad here.
Back
Top