Unlike Barlow, here I concentrate less on the question of how ceramic makers express the ethical character of Dick’s thought, and more on how the objects themselves function within the fictional worlds the author creates. The role of ceramicists and their work in Dick’s writing has received some attention in the scholarly literature to this date, for example in Aaron Barlow’s 2005 study How Much Does Chaos Scare You?: Politics, Religion, And Philosophy in the Fiction of Philip K. Moreover, in the film versions of his narratives, some of the more eccentric and anachronistic aspects of his fiction are not given their full due, such as the religion of Mercerism in Do Androids Dream of Electric Sheep, which did not make it into the final version of Blade Runner, thereby making his fiction seem more homogenous than it is on the page. Mundane objects such as pots and jugs also don’t fit well within the common perception of Dick’s work, renowned for its bizarre, paranoid and often haunting narratives featuring mental illness, telepathy, drug use, the manipulation of memory, androids, and time travel, set in a near or distant future both familiar and yet alien to our experience of the everyday. Surprising, perhaps, because Dick is one of the late-twentieth century’s pre-eminent writers of science fiction, a genre often associated with futuristic scenarios involving hyper-advanced technology, whereas ceramic objects such as jugs and pots are the product of some of the earliest technology known to humankind, the first evidence of which dates back to 20,000 BC. Edited by Amelia Barikin and Helen Hughes with contributions by: Adrian Martin, Amelia Barikin, Andrew Frost, Anthony White, Arlo Mountford, Brendan Lee, Charles Green, Chris McAuliffe, Chronox, Damiano Bertoli, Darren Jorgensen, Dylan Martorell, Edward Colless, Helen Hughes, Helen Johnson, Justin Clemens, Lauren Bliss, Matthew Shannon, Nathan Gray, Nick Selenitsch, OSW, Patrick Pound, Philip Brophy, Rex Butler, Ryan Johnston, and Soda_Jerk.Ĭeramic objects play a surprisingly important role in Philip K. Lafferty, and Stanley Kubrick as well as texts on time travel, philology, geophilosophy, loops, speculative realism, dystopias, telepathy, surrealism, pop, Mercerism, and contemporary art. Dick, Samuel Delany, Pier Paolo Pasolini, Andrei Tarkovsky, R.A. Featuring essays on Stanislaw Lem, Robert Smithson, J.G. This collection is concerned with the ways in which science fiction might be performed, materialised or enacted within a contemporary context. The linking point is the idea of science fiction as a platform for the building of alternate art histories. Making Worlds: Art and Science Fiction is an anthology of new writings by artists, curators, art historians and writers who are self-confessed science fiction fans.
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