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583 <div id="content" class="site-content"> 584 585 <div id="primary" class="content-area"> 586 <main id="main" class="site-main" role="main"> 587 588 589 <header class="page-header"> 590 <h1 class="page-title">Category: <span>articles</span></h1> </header><!-- .page-header --> 591 592 593 594<article id="post-13699" class="post-13699 post type-post status-publish format-standard hentry category-articles category-interviews-roundtables-and-surveys category-short-fiction tag-translation"> 595 <header class="entry-header"> 596 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/" rel="bookmark">Â Jean-Paul L. Garnier interviews Rachel Cordasco</a></h1> </header><!-- .entry-header --> 597 <div class="entry-content"> 598 <div class="wp-block-image"> 599<figure class="aligncenter size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg"><img data-attachment-id="13702" data-permalink="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/out-of-this-world/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg" data-orig-size="500,714" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="Out of this World" data-image-description="" data-image-caption="<p>Rachel S. Cordasco, &#8216;Out of This World: Speculative Fiction in Translation from the Cold War to the New Millennium&#8217; (University of Illinois Press, 2021)</p> 600" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg?w=500" width="500" height="714" src="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg?w=500" alt="" class="wp-image-13702" style="width:500px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg 500w, https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg?w=105 105w, https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg?w=210 210w" sizes="(max-width: 500px) 100v
600w, 500px" /></a><figcaption class="wp-element-caption">Rachel S. Cordasco, <strong><em>Out of This World: Speculative Fiction in Translation from the Cold War to the New Millennium</em></strong> (University of Illinois Press, 2021)</figcaption></figure> 601</div> 602 603 604<p class="wp-block-paragraph"><strong>Jean-Paul L. Garnier: What was your initial attraction to works of science fiction in translation, and what made you decide to start reviewing them?</strong></p> 605 606 607 608<p class="wp-block-paragraph"><strong>Rachel Cordasco</strong>: I started reviewing Anglophone science fiction for John DeNardoâs <em>SF Signal</em> in the mid-2010s. One day, he asked if Iâd like to review a work of Chinese science fiction in translationâ<em>The Three-Body Problem</em>. I jumped at the chance and absolutely loved that book. But it was only when he then sent me Jacek Dukajâs <em>The Old Axolotl</em> and Marek Huberathâs <em>Nest of Worlds</em> that I actually started thinking about what it meant that these texts were all translated. I had never thought about <em>where</em> science fiction was written, and I realized that, of course, it was written around the world. This led me to think about what other works of science fiction there were in English translation. I started a list on a personal blog, and before I knew it, I had found dozens of titles. Ten years later, Iâve catalogued thousands of short-form and long-form works of SF in translation. Iâve always loved learning other languages and I read a lot of classics in English translation when I was a teenager, so bringing together two of my favorite thingsâspeculative fiction and translationâmade so much sense. I started asking John to send me as much SFT (science fiction in translation) as he could, and then, when <em>SF Signal</em> shut down, I started my own site dedicated to SFT.</p> 609 610 611 612<p class="wp-block-paragraph"><strong>JPG: In the ten years since founding</strong> <a href="https://www.sfintranslation.com/"><strong>https://www.sfintranslation.com/</strong></a> <strong>what are some of the most interesting things that youâve learned, and some of the biggest gaps in the field that youâve identified?</strong></p> 613 614 615 616<p class="wp-block-paragraph"><strong>RC</strong>: One of the most surprising things I learned is that there is <em>so much</em> SFT out there. Early science fiction texts, especially from Western Europe in the late-19<sup>th</sup> and early-20<sup>th</sup> centuries, were being translated into English very quickly (though apparently not very accurately, in some cases, ahem ahem Jules Verneâs stories). When you start looking into the speculative novels, anthologies, and collections that were published in translation throughout the 20<sup>th</sup> century, you find that so many of these books just flew under the radar or went out of print quickly. This process of finding and cataloging as much SFT as I can is basically my way of excavating items that arenât buried but just hidden in plain sight.</p> 617 618 619 620<p class="wp-block-paragraph">Iâve learned that Japanese science fiction developed at warp speed following the American occupation of the island following World War Two; Iâve learned that giants of American golden age science fiction like Isaac Asimov and Theodore Sturgeon wrote introductions to anthologies of Russian science fiction at the height of the Cold War; and Iâve learned that, despite the fact that so much speculative fiction has been translated into English, the Anglophone genre world has mostly (except for the 70s and 80s) ignored SFTâ¦until recently. Hopefully, the tide is shifting once again toward SFT and more speculative fiction readers will learn about what people are writing and thinking about around the world.</p> 621 622 623 624 <a href="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/#more-13699" class="more-link">Continue reading <span class="screen-reader-text">” Jean-Paul L. Garnier interviews Rachel Cordasco”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 625 626 <footer class="entry-footer"> 627 628 <div class="entry-meta"> 629 <span class="byline">
630 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 631 <span class="cat-links"> 632 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a>, <a href="https://vector-bsfa.com/category/interviews-roundtables-and-surveys/" rel="category tag">interviews, roundtables, and surveys</a>, <a href="https://vector-bsfa.com/category/short-fiction/" rel="category tag">short fiction</a> </span><!-- .cat-links --> 633 634 <span class="comments-link"><a href="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/#respond">Leave a comment</a></span><!-- .comments-link --> 635 <span class="published-on"> 636 <a href="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/" rel="bookmark"><time class="entry-date published updated" datetime="2026-09-08T17:41:49+00:00">September 8, 2026</time></a> 637 </span> 638 639 </div><!-- .entry-meta --> 640 </footer><!-- .entry-footer --> 641</article><!-- #post-## --> 642 643 644 645<article id="post-13685" class="post-13685 post type-post status-publish format-standard hentry category-academic-articles category-elsewhere category-science-and-technology category-short-fiction tag-african-sf tag-africanfuturism tag-book"> 646 <header class="entry-header"> 647 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/" rel="bookmark">Applied African SF: Volume 1</a></h1> </header><!-- .entry-header --> 648 <div class="entry-content"> 649 650<h3 class="wp-block-heading"><em>Applied African SF</em> book is out now! </h3> 651 652 653 654<h4 class="wp-block-heading">It is available to share and download at <a href="https://bit.ly/AppliedAfricanSF">bit.ly/AppliedAfricanSF</a>. </h4> 655 656 657 658<p class="wp-block-paragraph">Produced in collaboration with <em>Vector. </em></p> 659 660 661<div class="wp-block-image"> 662<figure class="aligncenter size-large is-resized"><a href="https://bit.ly/AppliedAfricanSF"><img data-attachment-id="13686" data-permalink="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/aasf_cover-final-lowres-1/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg" data-orig-size="1754,2481" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="AASF_Cover-Final-LowRes (1)" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=724" width="724" height="1024" src="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=724" alt="" class="wp-image-13686" style="aspect-ratio:0.7070344491104567;width:561px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=724 724w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=1448 1448w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=212 212w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=1440 1440w" sizes="(max-width: 724px) 100vw, 724px" /></a></figure> 663</div> 664 665<div class="wp-block-image"> 666<figure class="aligncenter size-large is-resized"><a href="https://bit.ly/AppliedAfricanSF" target="_blank" rel=" noopener"><img data-attachment-id="13693" data-permalink="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/aasf-book-flyer_page_2/" data-orig-file="https://vector-bsfa.com/w
666p-content/uploads/2026/08/aasf-book-flyer_page_2.jpg" data-orig-size="877,1241" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="AASF book flyer_Page_2" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=724" width="724" height="1024" src="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=724" alt="" class="wp-image-13693" style="aspect-ratio:0.7070437984799812;width:566px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=724 724w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=212 212w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg 877w" sizes="(max-width: 724px) 100vw, 724px" /></a></figure> 667</div> </div><!-- .entry-content --> 668 669 <footer class="entry-footer"> 670 671 <div class="entry-meta"> 672 <span class="byline"> 673 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 674 <span class="cat-links"> 675 <a href="https://vector-bsfa.com/category/articles/academic-articles/" rel="category tag">academic articles</a>, <a href="https://vector-bsfa.com/category/elsewhere/" rel="category tag">elsewhere</a>, <a href="https://vector-bsfa.com/category/science-and-technology/" rel="category tag">science and technology</a>, <a href="https://vector-bsfa.com/category/short-fiction/" rel="category tag">short fiction</a> </span><!-- .cat-links --> 676 677 <span class="comments-link"><a href="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/#respond">Leave a comment</a></span><!-- .comments-link --> 678 <span class="published-on"> 679 <a href="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/" rel="bookmark"><time class="entry-date published" datetime="2026-08-18T13:55:01+00:00">August 18, 2026</time><time class="updated" datetime="2026-08-18T13:58:46+00:00">August 18, 2026</time></a> 680 </span> 681 682 </div><!-- .entry-meta --> 683 </footer><!-- .entry-footer --> 684</article><!-- #post-## --> 685 686 687 688<article id="post-13649" class="post-13649 post type-post status-publish format-standard hentry category-art category-articles category-editorials category-uncategorized tag-games tag-zoefuturism"> 689 <header class="entry-header"> 690 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/08/07/zoefuturism-in-creative-practice-responses/" rel="bookmark">Zoefuturism in creative practice: responses</a></h1> </header><!-- .entry-header --> 691 <div class="entry-content"> 692 693<h2 class="wp-block-heading">Introduction by Yen Ooi and Stephen Oram</h2> 694 695 696 697<p class="wp-block-paragraph">When we started thinking about the call for articles last year, we wanted to approach it in a Zoefuturistic manner â by giving space and creating opportunities for the issue(s) and articles to âbecome.â As a new topic, we were very aware that this is a process of exploration and discovery, more than a call to enforce and curate what we think Zoefuturism is. It needed to be reflective and malleable. </p> 698 699 700 701<p class="wp-block-paragraph">In this article, we will look at three of these creative reflections of Zoefuturism through different lenses: </p> 702 703 704 705<ul class="wp-block-list"> 706<li><em>Compost Futures</em> by the London Science Fiction Research Community Co-Directorate</li> 707 708 709 710<li><em>Station to Station</em> by Goblin Futures</li> 711 712 713 714<li>âNarrative Structures and Zoefuturismâ by Christopher Morrison</li> 715</ul> 716 717 718 719<p class="wp-block-paragraph">While all three pieces explore very different topics and perspectives, they are all reflections of Zoefuturism through practitionersâ creative action, and they form a Zoefuturistic response, as reactions to the introduction of Zoefuturism, playing with the ideas of our futures through relationality and constant becomings.</p> 720 721 722 723<hr class="wp-block-separator has-alpha-channel-opacity" /> 724 725 726<div class="wp-block-image"> 727<figure class="aligncenter size-large">
727<a href="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg"><img data-attachment-id="13651" data-permalink="https://vector-bsfa.com/2026/08/07/zoefuturism-in-creative-practice-responses/compost_futures_1-e1775491263556/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg" data-orig-size="708,407" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="compost_futures_1-e1775491263556" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg?w=708" loading="lazy" width="708" height="407" src="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg?w=708" alt="" class="wp-image-13651" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg 708w, https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg?w=150 150w, https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg?w=300 300w" sizes="auto, (max-width: 708px) 100vw, 708px" /></a></figure> 728</div> 729 730 731<p class="wp-block-paragraph"><em><a href="https://www.lsfrc.co.uk/zines/compost-futures-as-zine-as-more-than-human-practice/">Compost Futures</a></em> by the London Science Fiction Research Community (LSFRC). This creative-critical submission, in the form of a full zine, was made by the co-directorate of the LSFRC to explore questions around the relationships between humans with the other-than-human through the idea of âcompost,â inspired by Zoefuturism. Follow the link to read and explore the articles and artworks, and to learn how co-authoring a zine with nature turned out.</p> 732 733 734 735<hr class="wp-block-separator has-alpha-channel-opacity" /> 736 737 738 739<p class="wp-block-paragraph"><em>Station to Station </em>by Goblin Futures (<a href="https://goblin-futures.itch.io/station-to-station">https://goblin-futures.itch.io/station-to-station</a>). </p> 740 741 742<div class="wp-block-image"> 743<figure class="aligncenter size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png"><img data-attachment-id="13542" data-permalink="https://vector-bsfa.com/2026/05/29/a-fishpunk-game-station-to-station/screenshot-2025-09-22-at-17-55-53/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png" data-orig-size="1288,1826" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="Screenshot 2025-09-22 at 17.55.53" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=722" loading="lazy" width="722" height="1023" src="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=722" alt="" class="wp-image-13542" style="width:490px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=722 722w, https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=212 212w, https://vector-bsfa.com/w
743p-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png 1288w" sizes="auto, (max-width: 722px) 100vw, 722px" /></a></figure> 744</div> 745 746 747<figure class="wp-block-embed is-type-wp-embed is-provider-embed wp-block-embed-embed"><div class="wp-block-embed__wrapper"> 748<blockquote class="wp-embedded-content" data-secret="ZimKirIQSq"><a href="https://vector-bsfa.com/2026/05/29/a-fishpunk-game-station-to-station/">A fishpunk game: Station to Station</a></blockquote><iframe loading="lazy" class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“A fishpunk game: Station to Station” — " src="https://vector-bsfa.com/2026/05/29/a-fishpunk-game-station-to-station/embed/#?secret=AvHxR3DPok#?secret=ZimKirIQSq" data-secret="ZimKirIQSq" width="600" height="338" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe> 749</div></figure> 750 751 752 753<p class="wp-block-paragraph">*Fishpunk is something we made up, not a pre-existing genre. In other words, <em>Station to Station</em> is fishpunk, and anything else people want to consider fishpunk they can, just as long as it is Approved By Fish.</p> 754 755 756 757<p class="wp-block-paragraph">**Weirdhope is a term coined by<a href="https://www.copypastecoop.com"> COPY/PASTE CO-OP</a>, which they describe as a form of eco-punk that is stylistically and thematically opposed to grimdark. For more, you can check out their game <em>ECO MOFOS!!</em> or the webpage for the<a href="https://boningtongallery.co.uk/event/weird-hope-engines/"> Weird Hope Engines</a> exhibition that ran in the Bonington Gallery in 2025.</p> 758 759 760 761<hr class="wp-block-separator has-alpha-channel-opacity" /> 762 763 764 765<h2 id="narrative-structure" class="wp-block-heading"><strong><a href="#narrative-structure">Narrative Structures and Zoefuturism</a></strong></h2> 766 767 768 769<p class="wp-block-paragraph"><strong>By Christopher Morrison</strong></p> 770 771 772 773<p class="wp-block-paragraph"></p> 774 775 776 777<p class="wp-block-paragraph" id="narrative-structures">In the West<sup><a href="#ftnt1" id="ftnt_ref1">[1]</a></sup> there is one story structure primarily taught to readers and practitioners alike. The Aristotelean 3-Act Structure/The Heroâs Journey. Iâm well aware thatâs <em>two</em> structures, but they are so inter-linked now as to be extensions of one another. And, most importantly, they share a core philosophical purpose. That purpose: re-enforce Heroic Individualism. The Protagonist must be the one to solve the problem. They, and only THEY. Some assistance is rendered along the way, but in the climax, it is them and them alone (usually smashing) their way to the end. And that end as a teleological conclusion forgives (or ignores) all things that came before.</p> 778 779 780 781<p class="wp-block-paragraph">Anything else is considered a âsubversion ofâ or âbreaking the rulesâ. But, as Matthew Salsess asks, âWho writes those rules?â (Salesses, Matthew. <em>Craft in the Real World: Rethinking Fiction Writing and Workshopping</em>. New York: Catapult, 2021.) It is the dominant culture in the West. Patriarchal, white supremacist<sup><a href="#ftnt2" id="ftnt_ref2">[2]</a></sup>, heteronormative. Those values that hold up a human being⦠all at once illustrating the protagonist as special <em>and</em> the norm. The storyâs purpose is to make them a static, fixed Hero.</p> 782 783 784 785<p class="wp-block-paragraph">So, if this structure serves to support the Culture of Being in the West, what structures could support a culture of Becoming from Asian Cultures not shackled to the mast of Individualism?<sup><a href="#ftnt3" id="ftnt_ref3">[3]</a></sup> What structures could a writer creating in a Zoefuturist context rely on to illustrate Human Becoming and relieve their woes about what comes next in their story?</p> 786 787 788 789<p class="wp-block-paragraph">Taking a cue from the absolute basic root of Dr. Amesâ work and the language he is immer
789sed in, letâs look at <em>ShengSheng</em> (çç) â Procreativity. This word Dr. Ames presents as a crucial part of the early Cosmology of Confucian thought<sup><a href="#ftnt4" id="ftnt_ref4">[4]</a></sup> and gives us a perfect jumping-off point: </p> 790 791 792 793<p class="wp-block-paragraph">Repetition.</p> 794 795 796 797<p class="wp-block-paragraph">We all understand one of the crushing features of humanity is the repetition of life. Buddhism tackles this issue with the simple mantra: âBefore enlightenment: chop wood, carry water. After enlightenment: chop wood, carry water.â The road to human becoming must run directly through repetition just as the word and pictogram in Chinese suggests in its very form.</p> 798 799 800 801<p class="wp-block-paragraph">However, the West abhors repetition<sup><a href="#ftnt5" id="ftnt_ref5">[5]</a></sup> (except in cases of utter personal sacrifice to the destruction of oneself<sup><a href="#ftnt6" id="ftnt_ref6">[6]</a></sup>) and worships at the feet of novelty.<br>New or perish! You are only as good as your last ____!</p> 802 803 804 805<p class="wp-block-paragraph">Yet repetition itself holds true meaning-making. True becoming. But in Western storytelling itâs relegated to a âcallbackâ or some âcommentâ on one form or another and not the core engine to drive story and meaning.</p> 806 807 808 809<p class="wp-block-paragraph">Letâs explore a few structures where repetition is the heart and engine of its purpose.</p> 810 811 812 813<p class="wp-block-paragraph">Spirals: first brought to my attention through the work of Jane Alison.<sup><a href="#ftnt7" id="ftnt_ref7">[7]</a></sup> Humans are pattern recognition machines, therefore to create a literary or dramatic spiral one repeats meaning by bringing back a panoply of artistic resources. Place, character(s), theme(s), color, etc. Most powerful in the resource kit is repeating <em>events</em> in your story. What one may lose in novelty one gains in grounding your audience â their pattern recognition (and their simple act of becoming themselves â living life) brings the repetition to awareness and, if done well, the question â Why? Why repeat this now? Here? Or the repetition simply becomes the Breath of the narrative. Inhaling on return â exhaling on leaving â or vice versa. It is a structure that is close to life itself.</p> 814 815 816 817<p class="wp-block-paragraph">While not a Zoefuturist film, letâs look at Wong Kar-Waiâs <em>In the Mood for Love (Wong Kar-wai, dir. In the Mood for Love. Block 2 Pictures, 2000)</em>. A love story where its lovers are not allowed to consummate their love⦠or even say the word to each other. They are married to others while falling in love with each other. It is primarily a Spiral of place. Hallway, stairway, alleyway. All intermediate places â not defined. Not of themselves, but conduits to other locations. Perfect locations for a relationship that isnât formed â isnât one or the other. The characters are also suspended; neither really married nor free; not in love, but in love. Repetitions of their own conditions. The continuous use of smoke as a repeated image in the film is powerful. Sure, it looks damn cool, but itâs neither solid nor liquid. Neither here nor there⦠just slowly looping around itself and evaporating. Repeating. Spiraling.</p> 818 819 820 821<p class="wp-block-paragraph">Next, weâll look at ânestedâ structure.</p> 822 823 824 825<p class="wp-block-paragraph">Mainly known from the <em>1001 Arabian Nights </em>and the film <em>Rashomon. </em>Nested stories are stories-within-stories without being anthology or connected episodic in nature. Story layers. Characters may re-appear, settings may re-appear<sup><a href="#ftnt8" id="ftnt_ref8">[8]</a></sup> but what certainly repeats is theme and/or a central question or as Henry Lien likes to point out: <em>culture</em><sup><a href="#ftnt9" id="ftnt_ref9">[9]</a></sup>.</p> 826 827 828 829<p class="wp-block-paragraph">Again, hereâs a structure that reflects lifeâs journey. We are stories-within-stories. We hold our story, our familyâs story, we are minor or major characters in everyoneâs stories that surround us. And otherâs stories can affect us directly or indirectly if we appear in them or not. As Dr. Ames points out through Zoetological philosophy we are ââ¦interdependent human âbecomingsâ rather than discreet human beings⦠[through a relational understanding].<sup><a href="#ftnt10" id="ftnt_ref10">[10]</a></sup>â</p> 830 831 832 833<p class="wp-block-paragraph"><br>Nested structure allows writers to sift through the depth of our humanity all in one frame. The flow of this structure is the essence of interconnected âbecomingâ. Again, like life, the more we lift the lid and interact with the depths and layers underneath the more meaning and interconnectedness we experience.</p> 834 835 836 837<p class="wp-block-paragraph">In conclusion, âspiralâ and ânestedâ narrative structures are available to writers of every form and genre, but are especially powerful in a Zoetological and/or Zoefuturist context. They allow for a direct reflection into the bones of the work and to elevate stories from a single individualist journey into the wider world-view of human becomings. By leaving behind the strictures of Western storytelling obsessions we can imagine and enact a more interconnected future.</p> 838 839 840 841<hr class="wp-block-separator has-alpha-channel-opacity" /> 842 843 844 845<p class="wp-block-paragraph"><a href="#ftnt_ref1" id="ftnt1">[1]</a> Excluding Indigenous cultures.</p> 846 847 848 849<p class="wp-block-paragraph"><a href="#ftnt_ref2" id="ftnt2">[2]</a> Colonial, <em>at best.</em></p> 850 851 852 853<p class="wp-block-paragraph"><a href="#ftnt_ref3" id="ftnt3">[3]</a> This is where Iâll ask you to forgive me. Iâm a practitioner and n
853ot a scholar, perhaps others have done this work â I look forward to hearing about them if so⦠Henry Lienâs work comes to mind.</p> 854 855 856 857<p class="wp-block-paragraph"><a href="#ftnt_ref4" id="ftnt4">[4]</a> Ames, R. T. (2025). <em>Living Chinese Philosophy: Zoetology as First Philosophy</em> (p.â¯8). State University of New York Press.</p> 858 859 860 861<p class="wp-block-paragraph"><a href="#ftnt_ref5" id="ftnt5">[5]</a> To the point: In an early screenwriting class the âwisdomâ of <em>never</em> repeating a location was handed down to me. (This was the working philosophy of a high-powered producer and their thoughts on scriptwriting.)</p> 862 863 864 865<p class="wp-block-paragraph"><a href="#ftnt_ref6" id="ftnt6">[6]</a> Puritan work ethic for example. Or (especially for women) the carer role taken to its extreme⦠it is lauded and pitied and ridiculed all at once.</p> 866 867 868 869<p class="wp-block-paragraph"><a href="#ftnt_ref7" id="ftnt7">[7]</a> Alison, J. (2019). <em>Meander, Spiral, Explode: Design and Pattern in Narrative</em> (p.â¯143). Catapult.</p> 870 871 872 873<p class="wp-block-paragraph"><a href="#ftnt_ref8" id="ftnt8">[8]</a> Or remain the same as with <em>Rashomon</em>.</p> 874 875 876 877<p class="wp-block-paragraph"><a href="#ftnt_ref9" id="ftnt9">[9]</a> Lien, H. (2025). <em>Spring, summer, asteroid, bird: The art of Eastern storytelling</em> (1st ed.). W.â¯W. Norton & Company.</p> 878 879 880 881<p class="wp-block-paragraph"><a href="#ftnt_ref10" id="ftnt10">[10]</a> Ames, R. T. (2025). <em>Living Chinese Philosophy: Zoetology as First Philosophy</em> (p.â¯8). State University of New York Press.</p> 882 883 884 885<p class="wp-block-paragraph"></p> 886 </div><!-- .entry-content --> 887 888 <footer class="entry-footer"> 889 890 <div class="entry-meta"> 891 <span class="byline"> 892 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 893 <span class="cat-links"> 894 <a href="https://vector-bsfa.com/category/art/" rel="category tag">art</a>, <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a>, <a href="https://vector-bsfa.com/category/articles/editorials/" rel="category tag">editorials</a>, <a href="https://vector-bsfa.com/category/uncategorized/" rel="category tag">uncategorized</a> </span><!-- .cat-links --> 895 896 <span class="comments-link"><a href="https://vector-bsfa.com/2026/08/07/zoefuturism-in-creative-practice-responses/#respond">Leave a comment</a></span><!-- .comments-link --> 897 <span class="published-on"> 898 <a href="https://vector-bsfa.com/2026/08/07/zoefuturism-in-creative-practice-responses/" rel="bookmark"><time class="entry-date published" datetime="2026-08-07T17:53:49+00:00">August 7, 2026</time><time class="updated" datetime="2026-08-11T21:27:58+00:00">August 11, 2026</time></a> 899 </span> 900 901 </div><!-- .entry-meta --> 902 </footer><!-- .entry-footer --> 903</article><!-- #post-## --> 904 905 906 907<article id="post-13643" class="post-13643 post type-post status-publish format-standard hentry category-articles tag-climate-change tag-solarpunk tag-zoefuturism"> 908 <header class="entry-header"> 909 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/" rel="bookmark">Dreams of Arcadia: Zoefuturism and the Re-Enchantment of the Deep Self </a></h1> </header><!-- .entry-header --> 910 <div class="entry-content"> 911 912<h2 class="wp-block-heading">By Kiti McGlashan</h2> 913 914 915 916<p class="wp-block-paragraph">As meaning-seeking beings, we live in alternating cycles of embracing or fearing the natural world. Literature offers a good framework for observing this ancient and ongoing âbattleâ for the human spirit between the manifestation of our reverence and stewardship of nature and our fear of something that could so easily kill us. As industrialisation moved us further away from nature, and humans started living almost completely dis-attached from the natural world, we saw a resurgence of the need to find belonging in the greater order. The last two hundred years have presented a shift in our attitudes towards our surroundings and an influx of philosophies and literature that try to reconnect humans with
916nature.</p> 917 918 919 920<p class="wp-block-paragraph">Environmentalism has clearly entered the focus of modern worries, but it often presents shortsighted forms that ignore the bigger picture. By focusing on the more immediate and visible concerns, environmental campaigns often prioritise narrow objectives while overlooking the negative structural downside of some of the green politics (e.g. “green colonialism). The climate crisis and the development of the Anthropocene as a theoretical background for our concerns are lacking in a holistic outlook of reality and often showcase similar dangers as our previous attitudes towards the natural world. While there is a rising concern about the land, it is through an anthropocentric point of view. As long as we keep seeing ourselves as separate to the non-human lifeworld, we will live incomplete existences, and our solutions will be forever lacking. What is needed is âa futurism of connectedness, engagement, and relationality, a futurism of âlife-becomingsââ (Ooi, n.d.). And this reflection on the need for interconnectedness has recently been championed by new subgenres of science fiction.</p> 921 922 923<div class="wp-block-image"> 924<figure class="alignleft size-large"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg"><img data-attachment-id="13645" data-permalink="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/metro/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg" data-orig-size="346,522" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="metro" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg?w=346" loading="lazy" width="346" height="522" src="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg?w=346" alt="" class="wp-image-13645" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg 346w, https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg?w=99 99w, https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg?w=199 199w" sizes="auto, (max-width: 346px) 100vw, 346px" /></a></figure> 925</div> 926 927 928<p class="wp-block-paragraph">Storytelling has always been a mirror to the soul of humanity. It focuses the collective emotions and concerns in a metaphorical and philosophical format that offers more than simple escapism. Up until now, science fiction in particular has offered the best platform where the concerns of our present and future are laid out in the format of cautionary tales of how our environmental damage leads to post-apocalyptic scenarios. There are countless examples of stories focused on ecological collapse such as <em>The First and Last Men</em> by Olaf Stapledon that explores humanityâs eventual extinction, the dystopian future of <em>Metro 2033 </em>by Dmitry Glukhovsky where humanity is almost extinct and earth ravaged by radiation, <em>The Road</em> by Cormac McCarthy that is set in a post-apocalyptic setting following a cataclysmic event, the grimdark world of the <em>Warhammer 40K </em>universe where after the AI wars mankind is plummeted into a dark universe of chaos and death. These are just some examples out of a very vast body of literature which express the climate anxiety our society feels.</p> 929 930 931 932 <a href="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/#more-13643" class="more-link">Continue reading <span class="screen-reader-text">“Dreams of Arcadia: Zoefuturism and the Re-Enchantment of the Deep Self “</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 933 934 <footer class="entry-footer"> 935 936 <div class="entry-meta"> 937 <span class="byline">
938 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 939 <span class="cat-links"> 940 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 941 942 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/#comments">1 Comment</a></span><!-- .comments-link --> 943 <span class="published-on"> 944 <a href="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/" rel="bookmark"><time class="entry-date published" datetime="2026-07-30T14:45:46+00:00">July 30, 2026</time><time class="updated" datetime="2026-06-24T17:51:18+00:00">June 24, 2026</time></a> 945 </span> 946 947 </div><!-- .entry-meta --> 948 </footer><!-- .entry-footer --> 949</article><!-- #post-## --> 950 951 952 953<article id="post-13638" class="post-13638 post type-post status-publish format-standard hentry category-articles tag-cofutures tag-zoefuturism"> 954 <header class="entry-header"> 955 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/" rel="bookmark">Zoefuturism as CoFuturism: Revisiting the genre argument</a></h1> </header><!-- .entry-header --> 956 <div class="entry-content"> 957 958<h2 class="wp-block-heading">Dr. Patrick Anthony Barbosa Brock<br /><em>CoFutures</em></h2> 959 960 961 962<p class="wp-block-paragraph">What do we do when we talk about Zoefuturism? This essay argues that Zoefuturism and CoFuturisms are not merely aesthetic or speculative categories, but infrastructural practices of collective world-making. I propose a framework for understanding how these movements intervene in social imaginaries through genre formation, manifestos, and boundary-making practices, while also examining their material implications for the communities and infrastructures from which they emerge. To that end, I draw on my previous theorization of the role genre mechanics play in the formation of collectivities.</p> 963 964 965 966<p class="wp-block-paragraph">Although they are envisioned here as operationally connected, speculative fiction, CoFuturisms, and Zoefuturism should not be treated as interchangeable categories. Speculative fiction is a broad narrative mode oriented toward hypothetical worlds, alternative temporalities, and estrangement from consensus reality. CoFuturisms, by contrast, designate culturally situated interventions that mobilize speculative methods to contest dominant imaginaries and produce alternative social horizons. Zoefuturism differs from both in that its central organizing principle is relationality itself: an ontological emphasis on âinterconnected becomingâ across human, nonhuman, ecological, and material forms of life. Where speculative fiction often asks what futures might exist, and CoFuturisms ask who gets to imagine and inhabit those futures, Zoefuturism asks how forms of life become entangled in the production of futurity.</p> 967 968 969 970<p class="wp-block-paragraph">CoFuturisms as a conceptual umbrella emerged with the publication of the Routledge Handbook of CoFuturisms and its survey of speculative works from the worldâs periphery, many of which blur the boundaries between art and activism. Like the imaginaries from which they emerge, CoFuturisms are collective constructions shaped by forces operating at both macro and micro levels. As digital media theorist, poet, and software designer Jason Edward Lewis writes, they âcreate a field of âfuture facts,â a fully realized reality that exists somewhere down the timeline, waiting for us to catch up to itâ (11). More broadly, CoFuturisms often emerge through science fiction (SF) and speculative practices, commonly appropriating their methods, to critique dominant imaginaries and intervene micropolitically in the present. As science fiction scholar Taryne Jade Taylor observes, âCoFuturisms is a movement that is found both within science fiction and fantasy and also reaches past the boundaries of speculative fictionâ (2023).</p> 971 972 973<div class="wp-block-image"> 974<figure class="alignleft size-large is-resized">
974<a href="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg"><img data-attachment-id="13640" data-permalink="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/cofuturism/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg" data-orig-size="350,503" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="cofuturism" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg?w=350" loading="lazy" width="350" height="503" src="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg?w=350" alt="" class="wp-image-13640" style="width:325px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg 350w, https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg?w=104 104w, https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg?w=209 209w" sizes="auto, (max-width: 350px) 100vw, 350px" /></a></figure> 975</div> 976 977 978<p class="wp-block-paragraph">In conversation with the editors of this special issue, I was provided with the following conceptualization of Zoefuturism: âZoefuturism as a genre is founded upon the understanding that all things are relationalâwhere descriptors, characteristics, or even a sense of âbeingâ depend upon everything around themâand that everything is constantly becoming, much like our DNA. As such, Zoefuturism is not political.â</p> 979 980 981 982<p class="wp-block-paragraph">I interpret Zoefuturism as an attempt to articulate a relational understanding of the world that moves beyond binary frameworks by foregrounding becoming, interdependence, and ecological entanglement. Unlike many futurisms organized around identity, technological acceleration, or emancipatory struggle, Zoefuturism situates relationality itself as the condition of futurity. Its emphasis falls less on representing marginalized futures than on rethinking the ontological assumptions through which futures are imagined in the first place. Yet Zoefuturism cannot escape political impl
982ications simply by rejecting explicit political identification. Like CoFuturisms, it shapes how reality is narratively and institutionally organized through language, cultural production, archives, and the social imaginaries that orient collective life. Its politics emerge less through ideological declaration than through interventions into the conceptual and affective infrastructures governing how relations between life forms are understood.</p> 983 984 985 986<p class="wp-block-paragraph">These interventions occur through genre itself. Genres are not merely aesthetic containers but social formations circulating among texts, communities, markets, and institutions. Because genres organize recognition, expectation, and participation, they function as technologies of collective becoming. Speculative fiction provides many of the formal tools that make such interventions narratively intelligible, while CoFuturisms mobilize those tools toward situated cultural and political projects. Zoefuturism, in turn, redirects speculative practice toward relational ontologies that destabilize distinctions between nature and culture, subject and environment, and human and nonhuman life. </p> 987 988 989 990 <a href="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/#more-13638" class="more-link">Continue reading <span class="screen-reader-text">“Zoefuturism as CoFuturism: Revisiting the genre argument”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 991 992 <footer class="entry-footer"> 993 994 <div class="entry-meta"> 995 <span class="byline"> 996 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 997 <span class="cat-links"> 998 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 999 1000 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/#respond">Leave a comment</a></span><!-- .comments-link --> 1001 <span class="published-on"> 1002 <a href="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/" rel="bookmark"><time class="entry-date published" datetime="2026-07-23T13:13:05+00:00">July 23, 2026</time><time class="updated" datetime="2026-06-24T14:44:11+00:00">June 24, 2026</time></a> 1003 </span> 1004 1005 </div><!-- .entry-meta --> 1006 </footer><!-- .entry-footer --> 1007</article><!-- #post-## --> 1008 1009 1010 1011<article id="post-13596" class="post-13596 post type-post status-publish format-standard hentry category-articles category-writers-and-writing tag-biopunk"> 1012 <header class="entry-header"> 1013 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/" rel="bookmark">Rehabilitating Eva Hauserová’s Biopunk</a></h1> </header><!-- .entry-header --> 1014 <div class="entry-content"> 1015 1016<h3 class="wp-block-heading">By Cyril Simsa</h3> 1017 1018 1019<div class="wp-block-image"> 1020<figure class="aligncenter size-large"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg"><img data-attachment-id="13600" data-permalink="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/eh_promoting_broomsticks_1995/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg" data-orig-size="3752,5418" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="EH_promoting_Broomsticks_1995" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=709" loading="lazy" width="709" height="1023" src="https://vector-bsfa.com/w
1020p-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=709" alt="" class="wp-image-13600" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=709 709w, https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=1418 1418w, https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=104 104w, https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=208 208w, https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=768 768w" sizes="auto, (max-width: 709px) 100vw, 709px" /></a></figure> 1021</div> 1022 1023 1024<p class="has-text-align-center wp-block-paragraph"><em>Eva Hauserová promoting her non-fiction title <strong>Na koÅ¡tÄti se dá i lÃtat</strong> [Broomsticks can also be used for flying], 1995</em></p> 1025 1026 1027 1028<p class="wp-block-paragraph">Of the many contemporary subgenres of sf that can claim they originated as a reaction to the cyberpunk revolution of the 1980s, one of the oldest is certainly “biopunk”, especially if one counts the mini-genre of “ribofunk” â shouted into existence by the American writer Paul Di Filippo (1954-) in 1990, and just as quickly extinguished â as a legitimate precursor (Di Filippo 1990). Probably only “steampunk”, coined by K.W. Jeter (1950-) in 1987, is older (Nicholls and Langford 2025). </p> 1029 1030 1031 1032<p class="wp-block-paragraph">“Biopunk”, as it is used today, refers to a subgenre of sf that adopts many of the stylistic and narrative tropes of cyberpunk â a focus on stories built around an ensemble cast of petty criminals, (gene) hackers and chancers, urban subcultures, and a “revolt into style” (if the reader will pardon the throwback to the cultural criticism of an earlier era) (Melly 1970) â while sourcing its McGuffins from biotechnology, rather than cybernetics. In this contemporary sense, biopunk has its origins in the American genre writing of the 1990s, with the first documented use (from two different, and almost certainly unconnected sources) in 1992, and the subsequent attempt to identify precursors in earlier genre history.<sup data-fn="297ae90a-563c-4c6f-b3c5-15155d429335" class="fn"><a href="#297ae90a-563c-4c6f-b3c5-15155d429335" id="297ae90a-563c-4c6f-b3c5-15155d429335-link">1</a></sup></p> 1033 1034 1035 1036<p class="wp-block-paragraph">Di Filippo takes this as far back as H.G. Wells’ <em>The Island of Doctor Moreau</em> (1896); of more recent antecedents, Greg Bear’s <em>Blood Music</em> (1985) and Bruce Sterling’s <em>Schismatrix</em> (1985) are frequently cited (Di Filippo 1990; Schmeink 2014b, 32). From these American genre roots, biopunk has spread around the world and into other media, film and TV in particular. The hit TV show, <em>Orphan Black</em> (2013-2017), with its saga of a shadowy organisation trying to direct the future of human evolution through gene hacking and the complications that arise when some of its human clones escape, would be a good example. All of which makes a neat teleological narrative of exactly the kind that, in theory, every self-respecting punk of whatever persuasion is supposed to abhor; and none of which quite holds together when examined in a broader framework. <br /><br />Because there is a catch â of course, there is â and in a European context, this neat timeline is disrupted by the Czech writer Eva Hauserová (1954-2023), also known as Eva Hauser, who in 1988 independently came up with a literary intervention she called “biopunk,” and her coinage pre-dates the American one. This sits uncomfortably with the official chronicle, making her something later critics have had to explain away, though there are also those who have simply ignored her. (For the former, see Schmeink, who will be discussed below; for the latter, a simple Google search will reveal any number of biopunk, or biopunk-adjacent websites that have no idea of Eva’s existence.)  </p> 1037 1038 1039 1040 <a href="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/#more-13596" class="more-link">Continue reading <span class="screen-reader-text">“Rehabilitating Eva Hauserová’s Biopunk”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 1041 1042 <footer class="entry-footer"> 1043 1044 <div class="entry-meta"> 1045 <span class="byline">
1046 <a href="https://vector-bsfa.com/author/phoenixalexandereditor/" rel="author">phoenixalexandereditor</a> </span> 1047 <span class="cat-links"> 1048 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a>, <a href="https://vector-bsfa.com/category/writers-and-writing/" rel="category tag">writers and writing</a> </span><!-- .cat-links --> 1049 1050 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/#respond">Leave a comment</a></span><!-- .comments-link --> 1051 <span class="published-on"> 1052 <a href="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/" rel="bookmark"><time class="entry-date published" datetime="2026-07-16T00:15:23+00:00">July 16, 2026</time><time class="updated" datetime="2026-06-14T00:17:59+00:00">June 14, 2026</time></a> 1053 </span> 1054 1055 </div><!-- .entry-meta --> 1056 </footer><!-- .entry-footer --> 1057</article><!-- #post-## --> 1058 1059 1060 1061<article id="post-13618" class="post-13618 post type-post status-publish format-standard hentry category-articles tag-thrutopia tag-zoefuturism"> 1062 <header class="entry-header"> 1063 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/" rel="bookmark">Thrutopia with Manda Scott and Denise Baden</a></h1> </header><!-- .entry-header --> 1064 <div class="entry-content"> 1065 1066<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1067<p class="wp-block-paragraph">Aware of other sub-genres that might sit alongside, overlap or appear to be similar to Zoefuturism, we welcomed contributions about them, to help shape our understanding of Zoefuturism relationally.</p> 1068</blockquote> 1069 1070 1071 1072<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1073<p class="wp-block-paragraph">Below, Manda Scott and Denise Baden set out strong cases for Thrutopia.</p> 1074</blockquote> 1075 1076 1077 1078<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1079<p class="wp-block-paragraph">This is interesting from a zoefuturist perspective because Thrutopia is about change and the journey; imagining positive futures and the practicalities of getting there has to be a good approach.</p> 1080</blockquote> 1081 1082 1083 1084<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1085<p class="wp-block-paragraph">However, Zoefuturism does not presuppose an end point or a goal, more that there is a distinct need to fundamentally alter our world-view, of how we interact and fit in with the world in the broadest sense. It also does not delve in binarisms like positivity/negativity inasmuch as binaries are composites of a holistic purview of life.</p> 1086</blockquote> 1087 1088 1089 1090<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1091<p class="wp-block-paragraph">We need healthy relationships between all of âlifeâ and ânon-lifeâ in the now, acknowledging the diversities while engaging in the nuanced relationships that encompass nature, technology, and more. We need to understand that change is constant and how we live is what affects the possible futures that it is becoming.</p> 1092</blockquote> 1093 1094 1095 1096<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1097<p class="wp-block-paragraph">We hope that celebrating other sub-genres while encouraging a Zoefuturist approach to reading and writing them will make them more impactful.</p> 1098<cite>Yen Ooi and Stephen Oram (guest-editors, Zoefuturism)</cite></blockquote> 1099 1100 1101<a class="wp-block-read-more" href="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/" target="_self">Read more<span class="screen-reader-text">: Thrutopia with Manda Scott and Denise Baden</span></a> 1102 1103 1104<hr class="wp-block-separator has-alpha-channel-opacity" /> 1105 1106 1107 1108<h2 class="wp-block-heading"><strong>Thrutopian Road Maps </strong></h2> 1109 1110 1111 1112<h3 class="wp-block-heading"><strong>An essay by Manda Scott (August 2025</strong>)</h3> 1113 1114 1115 1116<p class="wp-block-paragraph"><em>âAt times, a single fluctuation ⦠may become so powerful ⦠that it shatters the preexisting organization. At this revolutionary moment ⦠it is inherently impossible to determine in advance which direction change will take: whether the system will disintegrate into âchaosâ or leap to a new, more differentiated, higher level of âorder.ââ â Alvin Toffler</em></p> 1117 1118 1119 1120<p class="wp-block-paragraph">If we who write can craft clear routes from a recognisable present, mapping towards a future that engages people at the limbic level, we can help tip the balance to a future where a critical mass of us begins to <em>yearn for the outcomes offered</em>, and <em>change will happen</em>. </p> 1121 1122 1123 1124<p class="wp-block-paragraph">This is the explicit foundation of the Thrutopian genre: offering route mapsâof which there are, self-evidently, an almost infinite numberâtowards a future we would be proud to leave to the generations that will follow us. </p> 1125 1126 1127 1128<p class="wp-block-paragraph">If we can imagine forward seven generations and look into the eyes of a young person living in the world for which we have laid the foundations, if they feel safe, confident, fully connected to all parts of themselves, each other and the Web of Life, then weâre on the road to the emergent edge of inter-becoming from which an entirely new system can potentially arise.</p> 1129 1130 1131 1132<p class="wp-block-paragraph">As writers, we can gather the building blocks that are already emerging and make of them stepping stones across the river. Stretching the metaphor to breaking point, the narratives we thereby shape must at least offer a glimpse of a reason to cross (motivation), the means to make the crossing (agency), the route to take (direction) and the freedom to take it (empowerment).</p> 1133 1134 1135 1136<p class="wp-block-paragraph">This is the heart of behavioural change: MADE: </p> 1137 1138 1139 1140<p class="wp-block-paragraph">Motivation: with all my heart, I yearn for a future I can glimpse but not yet embrace; </p> 1141 1142 1143 1144<p class="wp-block-paragraph">Agency: I have the tools to take the first steps towards this future; </p> 1145 1146 1147 1148<p class="wp-block-paragraph">Direction: I know the routes away from my present state that will lead me towards the future I yearn for;</p> 1149 1150 1151 1152<p class="wp-block-paragraph">Empowerment: I am free of constraint in the present moment enabling me to take the steps and wield the tools in ways that will be effective.</p> 1153 1154 1155 1156<p class="wp-block-paragraph">Each of these belongs squarely in the realms of creative imagination. I am not pretending that crafting these is easy; itâs not. One of the many reasons there are so many dystopias and so few genuine Thrutopias is that itâs mind-bendingly hard to find peaceful routes to an equitable world in which humanity flourishes in concert with â even in service to – Life. </p> 1157 1158 1159 1160<p class="wp-block-paragraph">But it isnât impossible and frankly, if the hardest thing we have to do in the next decade is get our heads around the thinking that already exists at the emergent edge of possibility, then we will be supremely lucky. </p> 1161 1162 1163 1164<p class="wp-block-paragraph">And this is the single most important point. If you take nothing else away, please believe me that there are people already working at the emergent edge of wide boundary systems thinking, of food and farming systems (we have to abandon industrial agriculture as a matter of urgency), of biomimicry, doughnut/ecological/degrowth economics, distributed governance systems, regenerative use of AI, urban and rural planning based on fully regenerative principlesâ¦</p> 1165 1166 1167 1168<p class="wp-block-paragraph">Every one of these is actively being pursued, itâs just that our legacy media runs with the old style mindset of âif it bleeds, it leadsâ and theyâre not up to speed (yet) with the idea that the existing system is disintegrating and a new one is already emerging from the ashes.</p> 1169 1170 1171 1172<p class="wp-block-paragraph">This is part of the Thrutopian narrative shift of which we are an integral part: building routes through, from a recognisable present towards a future weâd all be proud to leave to the generations that come after us.</p> 1173 1174 1175 1176<hr class="wp-block-separator has-alpha-channel-opacity" /> 1177 1178 1179 1180<h2 class="wp-block-heading">Writing a future weâd like to see, the thrutopian approach. </h2> 1181 1182 1183 1184<h3 class="wp-block-heading">By Denise Baden (April 2026)</h3> 1185 1186 1187 1188<p class="wp-block-paragraph">Science fiction often envisions not just technological innovations but societal ones. For example, Ursula Le Guinâs <em>The Dispossessed</em> imagines an anarchic/communist society that is broadly utopian in its ideals and has distinctly different arrangements and values surrounding ownership. However, there are few novels that show the process by which we might get from where we are now to such a future. Kevin Kelly coined the term âprotopia,â which describes the process of improvement over time. Rupert Read similarly talks about âthrutopiaâ: how we get from where we are now to where weâd like to be, i.e. a flourishing, sustainable society. The idea was so powerful that bestselling author Manda Scott set up a Thrutopia masterclass for writers: âwriting our way to a future weâd be proud to leave to the coming generations.â She moved from writing historical fiction to a novel set in the near future, <em>Any Human Power,</em> which adopts the thrutopian approach. </p> 1189 1190 1191 1192<p class="wp-block-paragraph">In this article I discuss some of the books published by Habitat Press, an indie publisher with a niche interest in stories that showcase thrutopian or protopian pathways. There are numerous âcli-fiâ stories that present dystopian visions of what will happen if we donât act. These
1192can be unexpectedly problematic, as research has highlighted the dangers of trying to âscare people green.â Dystopian stories run the risk of fear-driven counterproductive responses, such as the blaming of marginalised groups or buying up all the toilet rolls. There are also numerous eco-fiction stories that persuade us to love nature and plant trees but get us no nearer to understanding what the really effective solutions are and, even more importantly, how we might get there from where we are today. This is a gap that I havenât seen any fiction (other than <em>Ministry for the Future</em>) fulfil.</p> 1193 1194 1195 1196<p class="wp-block-paragraph">Steve Willis, a climate engineer and author (<a href="https://habitatpress.com/fairhaven/"><em>Fairhaven</em></a>, <a href="https://habitatpress.com/defying-futility/"><em>Defying Futility</em></a>) has allowed me to share his diagram of films, books etc., which plots dystopian/utopian visions of the future against plausibility. Itâs clear that thereâs little that is both positive and plausible. </p> 1197 1198 1199<div class="wp-block-image"> 1200<figure class="aligncenter size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png"><img data-attachment-id="13628" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image2-6/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png" data-orig-size="1228,740" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image2" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=1024" loading="lazy" width="1024" height="617" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=1024" alt="" class="wp-image-13628" style="width:420px;height:253px" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=1024 1024w, https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=150 150w, https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=300 300w, https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png 1228w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></a></figure> 1201</div> 1202 1203 1204<p class="wp-block-paragraph">Habitat Press has published several books that write into this space. Many emerged from the <a href="https://www.greenstories.org.uk/">Green Stories project</a> which I founded with the goal of embedding climate solutions into mainstream fiction. It has run 21 competitions since 2018, resulting in numerous <a href="https://habitatpress.com/">publications</a>. One of these is the anthology of 24 stories: <a href="https://habitatpress.com/no-more-fairy-tales/">No More Fairy Tales: Stories to Save Our Planet</a>, where we teamed experienced writers with climate experts to come up with stories that had solutions at their heart. </p> 1205 1206 1207<div class="wp-block-image"> 1208<figure class="alignleft size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg"><img data-attachment-id="13629" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image4-6/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg" data-orig-size="460,736" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image4" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/w
1208p-content/uploads/2026/06/image4.jpg?w=460" loading="lazy" width="460" height="736" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg?w=460" alt="" class="wp-image-13629" style="aspect-ratio:0.6261682242990654;width:207px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg 460w, https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg?w=94 94w, https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg?w=188 188w" sizes="auto, (max-width: 460px) 100vw, 460px" /></a></figure> 1209</div> 1210 1211 1212<p class="wp-block-paragraph">Stories range from technical solutions relating to carbon dioxide removal projects to more systemic aspects such as switching from GDP to a well-being index, sharing economy, personal carbon allowances, giving citizen assemblies legislative power â all of which would allow for a more sustainable long-term mindset conducive to directing investment towards sustainable technologies, practices, and decisions. </p> 1213 1214 1215 1216<p class="wp-block-paragraph">This anthology uses fiction as a testing ground to explore the more radical transformative ideas necessary for a truly sustainable society: ideas that are hard for politicians to talk about for fear of misunderstanding as they canât easily fit into a soundbite. For example, an essential step is to upgrade our democracy to a form that allows us to think beyond short-term electoral cycles so that we can make more sustainable decisions. Citizensâ Assemblies are a positive step here. </p> 1217 1218 1219 1220<p class="wp-block-paragraph">One story from this anthology was adapted as a play called â<a href="https://www.greenstories.org.uk/theatre-in-education/"><em>Murder in the Citizensâ Jury.â</em></a> Itâs a fun whodunit, set in a citizensâ assembly, where eight participants meet to deliberate upon climate solutionsâand then thereâs a murder! </p> 1221 1222 1223<div class="wp-block-image"> 1224<figure class="alignleft size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg"><img data-attachment-id="13630" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image3-5/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg" data-orig-size="348,488" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image3" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg?w=348" loading="lazy" width="348" height="488" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg?w=348" alt="" class="wp-image-13630" style="aspect-ratio:0.7123893805309734;width:211px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg 348w, https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg?w=107 107w, https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg?w=214 214w" sizes="auto, (max-width: 348px) 100vw, 348px" /></a></figure> 1225</div> 1226 1227 1228<p class="wp-block-paragraph"><strong>Caption: flyer for theatre production by amateur theatre group, The Maskers.</strong></p> 1229 1230 1231 1232<p class="wp-block-paragraph">The play also has an interactive element. A voting app and pullout voting and comment sheet in the programmes allows the audience to share their views on their favourite policies, so they feel like they are part of the citizenâs jury themselves. You can see a brief video of the first production by a local amateur theatre group <a href="https://www.youtube.com/watch?v=fosCvlJvY4o">here</a>. The play is available to purchase from LazyBee, but if you approach me directly, Iâm happy to allow amateur and student theatre groups to stage it royalty free. </p> 1233 1234 1235 1236<p class="wp-block-paragraph">The play is also available as a novella and audio book, <a href="https://habitatpress.com/product/the-assassin/">âThe Assassinâ</a> of 16,000 words:</p> 1237 1238 1239 1240<p class="wp-block-paragraph"><em>Eight people in a citizenâs jury, discussing the most important challenge in the history of humanity â how to save ourselves from the looming climate crisis. Exciting new solutions are proposed, each with their own champions and detractors. What they decide will affect us all. But they all have their own issues to deal with, and one of them has a hidden agenda. Who is the assassin and who are they there to kill?</em></p> 1241 1242 1243 1244<p class="wp-block-paragraph">Such storytelling is a great way to showcase new ideas. Usually in business or government, one would use a stakeholder analysis to see who is benefitted/harmed by any policy and how. These can be dry, and itâs hard to engage with the impacts emotionally as the groups affected seem distant. This story allows stakeholders to become characters and as such we identify with them and their needs more easily. We can then view any climate policy from the perspective of a variety of people, all of whom have a unique relationship to the proposal.</p> 1245 1246 1247 1248<p class="wp-block-paragraph"><em>The Assassin</em> also acts as a story within a story in a full-length novel <a href="https://www.dabaden.com/the-philosopher-and-the-assassin/"><em>The Philosopher and the Assassin</em></a>. Itâs rather different â think campus novel meets moral philosophy meets whodunnit. </p> 1249 1250 1251 1252<p class="wp-block-paragraph"><em>Thereâs no more important job than educator, and no subject as necessary as moral philosophy. The trick is getting the students to turn up. So, when the Dean proposes the controversial concept of education entertainment, Professor Iris Tate goes all in with a moral philosophy course based on a whodunnit that all assume is hypothetical â a murder in a citizensâ assembly on climate. A variety of characters provide an entertaining source of ethical dilemmas, but what the students donât know is that the ultimate dilemma is very real, and their conclusions will have far-reaching consequences.</em></p> 1253 1254 1255<div class="wp-block-image"> 1256<figure class="alignleft size-large is-resized">
1256<a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg"><img data-attachment-id="13631" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image6-4/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg" data-orig-size="375,600" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image6" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg?w=375" loading="lazy" width="375" height="600" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg?w=375" alt="" class="wp-image-13631" style="aspect-ratio:0.6259541984732825;width:203px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg 375w, https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg?w=94 94w, https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg?w=188 188w" sizes="auto, (max-width: 375px) 100vw, 375px" /></a></figure> 1257</div> 1258 1259 1260<p class="wp-block-paragraph">An adaptation for TV won the Writing Climate Pitchfest, 2024. The book lays out in fiction format a roadmap to a sustainable future. It focuses on social science innovations in democratic, economic, financial, and social institutions. </p> 1261 1262 1263 1264<p class="wp-block-paragraph"> <a href="https://habitatpress.com/no-more-fairy-tales/">No More Fairy Tales: Stories to Save Our Planet</a> features three short stories that explore the idea of giving the ocean a nation status. One is about the seed of the idea; another is set when the Ocean as Nation has begun and is facing its first challenge, and the final story is set decades in the future outlining what the new Ocean Nation looks like and how it has progressed. It was expanded into a properly thrutopian full-length novel, <a href="https://habitatpress.com/product/fairhaven/"><em>Fairhaven, </em>written</a> by engineer Steve Willis and writer Jan Lee. </p> 1265 1266 1267<div class="wp-block-image"> 1268<figure class="alignright size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg"><img data-attachment-id="13632" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image5-5/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg" data-orig-size="338,480" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image5" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg?w=338" loading="lazy" width="338" height="480" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg?w=338" alt="" class="wp-image-13632" style="aspect-ratio:0.7081339712918661;width:205px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg 338w, https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg?w=211 211w" sizes="auto, (max-width: 338px) 100vw, 338px" /></a></figure> 1269</div> 1270 1271 1272<p class="wp-block-paragraph"><em>Visco</em> won the 2020 Green Stories novel competition. The story imagines a giant music festival which allows free access to those who need care and their carers too. What emerges is a care-based mini-society. Those who attend love it so much, no one wants to go home when the music stops. So they donât! This novel adopts the âprotopianâ approach of imagining a quite plausible scenario whereby a mini community develops in stages. The characters face and overcome various challenges. David Fell brings to this novel all the knowledge he has gained in his years working as a sustainability consultant, using the novel to showcase alternative approaches such as the sharing economy and how a society based on care might work in practice. </p> 1273 1274 1275<div class="wp-block-image"> 1276<figure class="alignleft size-large is-resized">
1276<a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg"><img data-attachment-id="13633" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image1-7/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg" data-orig-size="263,421" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image1" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg?w=263" loading="lazy" width="263" height="421" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg?w=263" alt="" class="wp-image-13633" style="aspect-ratio:0.625;width:191px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg 263w, https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg?w=94 94w" sizes="auto, (max-width: 263px) 100vw, 263px" /></a></figure> 1277</div> 1278 1279 1280<p class="wp-block-paragraph">Fiction, and science fiction in particular, is a great way to reach audiences beyond the environmental echo chamber, but to finish, Iâll talk about my next book, which is non-fiction but with a twist! Itâs tentatively called <a href="https://www.dabaden.com/a-20-piece-jigsaw-to-save-the-world/">A Jigsaw to Save the World</a>. The twist â you guessed it – is that I plan to make it available also as a jigsaw. </p> 1281 1282 1283 1284<p class="wp-block-paragraph">I like the idea of a jigsaw as on the front cover is a picture which you are trying to get to. I read many books that do an excellent job of pinpointing the many problems society faces, and itâs usually not until the final chapter that any attempt is made at suggesting possible solutions. The news and pundits far and wide are keen to point out the problems we face. But itâs rare we take time to imagine what it might all look like if we did things better. </p> 1285 1286 1287 1288<p class="wp-block-paragraph">Rob Hopkins, in his book <em>From What Is to What If,</em> believes that when we take the time to immerse ourselves fully in imagining what kind of future weâd like to see, this creates a longing for it to happen. This in turn can galvanise action to make that dream come true. In his podcast <em>From What Is to What Next,</em> he asked guests to step into a virtual time machine, and to imagine themselves to be several years into the future and that weâve done everything right and turned our society round. He then asked them to visualise what they see and hear around them. Itâs a surprisingly powerful exercise when you do it yourself. Rob is right; it creates a yearning in the heart, a longing that almost makes you cry. </p> 1289 1290 1291 1292<p class="wp-block-paragraph">I do a lot of talks and workshops and often use this exercise myself. Itâs remarkable that, in my experience, whatever the audience, the society people hunger for is always the same. First is always more nature. A close second is a sense of community, after that itâs more varied, but local food is often part of the picture, being outdoors more, less traffic. Public transport that is cheap, convenient and goes where you want, whenever you want. A more equal society, clean air and water. Access to health care and to feel hope for the future, or our childrenâs future. This is the picture on the front of the jigsaw. In every chapter, I will remind the reader of the society we are aiming towards.</p> 1293 1294 1295 1296<p class="wp-block-paragraph">Another reason I like the jigsaw metaphor is that we can see what pieces we may be part of in our own lives. Itâs not just about building castles in the air for fun. The stakes are too high for that. We must work out how we get to our desired society. No one person or element can do it by themselves. We need every part of society to be working together to create this new picture. Whether we be in education, business, politics, members of our community, artists, journalists, or just as employees or voters with a voice, you can see where you fit in. At the end of every chapter, if you like what itâs proposing, I will suggest how you can make a difference.</p> 1297 1298 1299 1300<p class="wp-block-paragraph">I have an idea of the many pieces that will make up the jigsaw, and am working on the corners. The criteria for a policy to be a corner piece is that without that, all the other wonderful ideas or policies would not be as effective. Contenders for the corner pieces include citizens assemblies as our current democracy is constitutionally incapable of prioritising existential threats such as climate change over short
1300-term issues. Another might be personal carbon allowances/tradeable energy quotas â also known as personal carbon trading. This would transform the decisions that are made by consumers and by businesses by incentivising us to choose low-carbon alternatives. Business purpose justifies a corner but itâs tricky. The current legal form of corporations makes it impossible for even well-meaning CEOs to prioritise societal welfare when it conflicts with profit maximisation for shareholders. What if all businesses were Benefit Corporations/social enterprises where their aim was sufficient profit to supply necessary goods and services rather than profit maximisation? What would happen to markets and pensions? Itâs easy to imagine distant futures but the process of getting there without triggering collapse is harder. Yet the alternative could be human extinction. Iâm running events to get people together to puzzle out these sticky problems. Details are available<a href="https://www.dabaden.com/a-jigsaw-to-save-the-world/#co-creation-with-academics"> here</a>.</p> 1301 1302 1303 1304<p class="wp-block-paragraph">While Iâm writing the book Iâm releasing abridged chapters as a fortnightly<a href="https://www.linkedin.com/newsletters/a-jigsaw-to-save-the-world-7300475505529540608/"> LinkedIn newsletter</a>. Each edition focuses on one piece of the puzzle. Subscribe for free to feedback on the ideas and share your view on what the corner pieces should be. Iâd love to know your thoughts! </p> 1305 1306 1307 1308<p class="wp-block-paragraph"><a href="https://www.dabaden.com/">https://www.dabaden.com/</a></p> 1309 1310 1311 1312<p class="wp-block-paragraph"><a href="https://www.linkedin.com/in/denise-baden-3742793/">Denise Baden | LinkedIn</a></p> 1313 1314 1315 1316<p class="wp-block-paragraph"><a href="https://bsky.app/profile/dabaden.bsky.social">https://bsky.app/profile/dabaden.bsky.social</a></p> 1317 </div><!-- .entry-content --> 1318 1319 <footer class="entry-footer"> 1320 1321 <div class="entry-meta"> 1322 <span class="byline"> 1323 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1324 <span class="cat-links"> 1325 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 1326 1327 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/#respond">Leave a comment</a></span><!-- .comments-link --> 1328 <span class="published-on"> 1329 <a href="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/" rel="bookmark"><time class="entry-date published" datetime="2026-07-09T23:39:42+00:00">July 9, 2026</time><time class="updated" datetime="2026-06-14T00:10:33+00:00">June 14, 2026</time></a> 1330 </span> 1331 1332 </div><!-- .entry-meta --> 1333 </footer><!-- .entry-footer --> 1334</article><!-- #post-## --> 1335 1336 1337 1338<article id="post-13548" class="post-13548 post type-post status-publish format-standard hentry category-academic-articles category-articles tag-zoefuturism"> 1339 <header class="entry-header"> 1340 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/06/05/towards-kindred-futures/" rel="bookmark">Towards Kindred Futures</a></h1> </header><!-- .entry-header --> 1341 <div class="entry-content"> 1342 1343<h2 class="wp-block-heading"><em>By Ana Sun</em></h2> 1344 1345 1346<div class="wp-block-image"> 1347<figure class="aligncenter size-large"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/book_polestars_12_ana_sun3.jpg"><img data-attachment-id="13551" data-permalink="https://vector-bsfa.com/2026/06/05/towards-kindred-futures/book_polestars_12_ana_sun3/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/book_polestars_12_ana_sun3.jpg" data-orig-size="400,568" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1","alt":""}" data-image-title="book_polestars_12_ana_sun3" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/w
1347p-content/uploads/2026/06/book_polestars_12_ana_sun3.jpg?w=400" loading="lazy" width="400" height="568" src="https://vector-bsfa.com/wp-content/uploads/2026/06/book_polestars_12_ana_sun3.jpg?w=400" alt="" class="wp-image-13551" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/book_polestars_12_ana_sun3.jpg 400w, https://vector-bsfa.com/wp-content/uploads/2026/06/book_polestars_12_ana_sun3.jpg?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/06/book_polestars_12_ana_sun3.jpg?w=211 211w" sizes="auto, (max-width: 400px) 100vw, 400px" /></a></figure> 1348</div> 1349 1350 1351<p class="wp-block-paragraph">Ever wonder why we tend to refer to the future in its singular form in everyday speech? Why âthe futureâ, and not simply âfuturesâ? Considering that we can probably agree that a myriad of futures is possible before one of them falls into the present, this seems to be a mundane but overlooked mystery. </p> 1352 1353 1354 1355<p class="wp-block-paragraph">In <em>Futurevision: scenarios for the world in 2040</em>, Richard Watson and Oliver Freeman observed [1]: </p> 1356 1357 1358 1359<blockquote class="wp-block-quote is-style-plain is-layout-flow wp-block-quote-is-layout-flow"> 1360<p class="has-medium-font-size wp-block-paragraph">There is a problem with most books about the future â and indeed, there is a fatal flaw with almost all of our thinking about what will happen next. This is because of a simple point. The fact is, there is no single future, regardless of our deepest desire that it be so, and there is no heavenly salvation in sight.</p> 1361</blockquote> 1362 1363 1364 1365<p class="wp-block-paragraph">As someone who often explores progressive, positive futures within the context of climate change and social justice through science fiction, in particular Solarpunk [2], Iâm intrigued: does the common view of a singular future mean we are more likely to believe that climate collapse is inevitable? Do we therefore find it difficult to imagine â and enact â alternatives? Have we inadvertently accepted a destiny described by cyberpunk, a future rocket-boosted by uncaring technology, systems of oppression and power concentrated in the hands of a few? In Zoefuturistic terms, have we simply accepted the âbeingâ and forfeited the âbecomingâ?</p> 1366 1367 1368 1369<p class="wp-block-paragraph">Thereâs some evidence that language can influence how we perceive time and our relationship with the future⦠or, rather, futures [3]. Our bodies are limited in conscious capacity, our brains constrained by how our memories are formed [4] [5] [6].</p> 1370 1371 1372 1373<p class="wp-block-paragraph">Unlike futurists and futurologists, thinking about the long-term future in its simultaneous multiplicities, especially when it comes to a complex issue such as climate change, is not something that most of us are able to conceptualise easily [7]. Sure, we may deal well enough with the immediate future, such as considering different possible routes we might take between two locations, or how we might fill the hours between morning and night on a given day. Beyond a certain timeframe, the future can resemble a different place; this afternoon, tonight, or tomorrow can easily seem like disembodied worlds beyond our reach [27]. And yet, the next second appears on the near horizon in the shadow of the following minute, then the hour thereafter â all rapidly pouring into the now, one liquid moment flowing into the next.</p> 1374 1375 1376 1377<p class="wp-block-paragraph">Perhaps there are deeper reasons for why we struggle with notions of futures in our everyday lives, and thatâs worth examining. </p> 1378 1379 1380 1381 <a href="https://vector-bsfa.com/2026/06/05/towards-kindred-futures/#more-13548" class="more-link">Continue reading <span class="screen-reader-text">“Towards Kindred Futures”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 1382 1383 <footer class="entry-footer"> 1384 1385 <div class="entry-meta"> 1386 <span class="byline"> 1387 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1388 <span class="cat-links"> 1389 <a href="https://vector-bsfa.com/category/articles/academic-articles/" rel="category tag">academic articles</a>, <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 1390 1391 <span class="comments-link"><a href="https://vector-bsfa.com/2026/06/05/towards-kindred-futures/#respond">Leave a comment</a></span><!-- .comments-link --> 1392 <span class="published-on"> 1393 <a href="https://vector-bsfa.com/2026/06/05/towards-kindred-futures/" rel="bookmark"><time class="entry-date published" datetime="2026-06-05T19:02:58+00:00">June 5, 2026</time><time class="updated" datetime="2026-06-06T16:07:25+00:00">June 6, 2026</time></a> 1394 </span> 1395 1396 </div><!-- .entry-meta --> 1397 </footer><!-- .entry-footer --> 1398</article><!-- #post-## --> 1399 1400 1401 1402<article id="post-13502" class="post-13502 post type-post status-publish format-standard hentry category-academic-articles category-articles tag-zoefuturism"> 1403 <header class="entry-header"> 1404 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/04/30/zoefuturism-in-the-online-world-cultivating-our-own-digital-gardens/" rel="bookmark">Zoefuturism in the Online World: Cultivating our own Digital Gardens</a></h1> </header><!-- .entry-header --> 1405 <div class="entry-content"> 1406 1407<h2 class="wp-block-heading"><strong>By </strong><strong>Suzie Gray</strong></h2> 1408 1409 1410 1411<p class="wp-block-paragraph">As digital spaces increasingly mediate the way in which we interact with ourselves and each other, I argue that this dynamic flow of human becoming within digital spaces crystallises as events or spectacles. Attention quickly shifts from one topic or individual to the next; quickly observed, reacted to, and circulated. Content creators are encouraged to perform in a way that perpetuates this cycle with appeals to emotion and rapidly following trends. This is by design, enabled by practices of the online attention economy.</p> 1412 1413 1414 1415<p class="wp-block-paragraph">In this article, Iâd like to highlight an alternative way of engaging in online spaces as a Zoefuturist practice: the act of creating and maintaining Digital Gardens. These online environments are sites that eschew homogeneity of design or corporate branding, showcasing the personal touches of their creators. Visitors are allowed to carve their own paths (within reason) through these lightly curated spaces that share knowledge and information.</p> 1416 1417 1418 1419<p class="wp-block-paragraph">Digital gardening is an act rather than a platform. Examples of these include repositories made on Obsidian, Quartz 4, and sites made on Neocities. The latter can be seen as a nod to website creators on Geocities during the early 2000s; as some might call a different time before the monetisation of online platforms. <strong>So how did we get here?</strong></p> 1420 1421 1422 1423 <a href="https://vector-bsfa.com/2026/04/30/zoefuturism-in-the-online-world-cultivating-our-own-digital-gardens/#more-13502" class="more-link">Continue reading <span class="screen-reader-text">“Zoefuturism in the Online World: Cultivating our own Digital Gardens”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 1424 1425 <footer class="entry-footer"> 1426 1427 <div class="entry-meta"> 1428 <span class="byline">
1429 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1430 <span class="cat-links"> 1431 <a href="https://vector-bsfa.com/category/articles/academic-articles/" rel="category tag">academic articles</a>, <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 1432 1433 <span class="comments-link"><a href="https://vector-bsfa.com/2026/04/30/zoefuturism-in-the-online-world-cultivating-our-own-digital-gardens/#respond">Leave a comment</a></span><!-- .comments-link --> 1434 <span class="published-on"> 1435 <a href="https://vector-bsfa.com/2026/04/30/zoefuturism-in-the-online-world-cultivating-our-own-digital-gardens/" rel="bookmark"><time class="entry-date published" datetime="2026-04-30T20:31:18+00:00">April 30, 2026</time><time class="updated" datetime="2026-03-27T21:24:31+00:00">March 27, 2026</time></a> 1436 </span> 1437 1438 </div><!-- .entry-meta --> 1439 </footer><!-- .entry-footer --> 1440</article><!-- #post-## --> 1441 1442 1443 1444<article id="post-13419" class="post-13419 post type-post status-publish format-standard hentry category-articles tag-christine-aicardi tag-zoefuturism"> 1445 <header class="entry-header"> 1446 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/04/07/a-very-british-genealogy-of-zoefuturism/" rel="bookmark">A very British genealogy of zoefuturism</a></h1> </header><!-- .entry-header --> 1447 <div class="entry-content"> 1448 1449<h2 class="wp-block-heading">By Christine Aicardi</h2> 1450 1451 1452 1453<p class="wp-block-paragraph"><em>Vector</em>âs call to explore zoefuturism was the first time I heard of the word. But the editorsâ framing of this newly coined variety of futurism spoke to me. Reading it through the prism of (feminist) scholarly literature in Science and Technology Studies (STS), it brought to mind the theorizing of ethics in more-than-human worlds, and its emphasis on the living relationalities of care across human and nonhuman agencies (Puig de la Bellacasa, 2017); it brought to mind multispecies assemblages and their lifeways entanglements (Lowenhaupt Tsing, 2015); it brought to mind the Chthulucene, proposed by Donna Haraway as more apt than the Anthropocene at describing current times, when human and nonhuman are more than ever inextricably entangled in living and dying together (Haraway, 2016).</p> 1454 1455 1456 1457<p class="wp-block-paragraph">But what caught me was a recommendation in the âFurther explorationsâ¦â section of Vectorâs call â the short story âEuglenaâ by Jane Norris (Norris, 2024). I had read âEuglenaâ and remembered it as a moving homage to the second generation of British cybernetics through one of its main figures, Stafford Beer. The monologuing slime mould narrating the story (we donât know at the start that they are a slime mould) explain that their âfirst connection was with Stafford Beerâ, that they loved his brain, and that they were born as a pond computer around 1960 (265-67). This, for me, raised intriguing questions about the possible relations between zoefuturism and cybernetics.</p> 1458 1459 1460 1461<p class="wp-block-paragraph">Beer (1926-2002), born in Putney, London, is best remembered for his contributions to operational research, management cybernetics (a field he launched in the 1950s) and (exceedingly) complex systems thinking (Rosenhead, 2006). A historical landmark was Project Cybersyn (1971-73), an experiment in socialist cybernetics in Allendeâs Chile, which was framed by Beerâs writings on management cybernetics and to which he actively participated (Medina, 2006). Less known are Beerâs highly imaginative forays into biological computing in the 1950s and 1960s, on his own and in collaboration with Gordon Pask, another important British cybernetician of the second generation.</p> 1462 1463 1464 1465<p class="wp-block-paragraph">From the mid-1950s, Beer started looking far and wide for natural systems that could be used in the construction of cybernetic machines (Pickering, 2010: 231-34). He investigated with young children (his own, probably), successfully using positive and negative feedback to train them in solving simultaneous equations without teaching them the maths. He reported on thought experiments aimed at enticing various kinds of animals to âplay this gameâ using adequate âreward function[s]â: mice, using cheese; rats and pigeons (already studied for their learning abilities); bees, ants, termites, which âhave all been systematically considered as components of self
1465-organizing systemsâ (Beer, 1962, cited in Pickering (2010): 232). But it was with simple pond life that he most experimented: colonies of a freshwater crustacean (Daphnia) and⦠of Euglena, a genus of microscopic unicellular flagellate algae, of which some species live in freshwater and some in saltwater. Eventually, for over a year he tried to enrol an entire pond ecosystem, in a large tank which contents âwere randomly sampled from ponds in Derbyshire and Surreyâ (Beer, 1962, cited in Pickering (2010): 234).</p> 1466 1467 1468 1469 <a href="https://vector-bsfa.com/2026/04/07/a-very-british-genealogy-of-zoefuturism/#more-13419" class="more-link">Continue reading <span class="screen-reader-text">“A very British genealogy of zoefuturism”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 1470 1471 <footer class="entry-footer"> 1472 1473 <div class="entry-meta"> 1474 <span class="byline"> 1475 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1476 <span class="cat-links"> 1477 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 1478 1479 <span class="comments-link"><a href="https://vector-bsfa.com/2026/04/07/a-very-british-genealogy-of-zoefuturism/#respond">Leave a comment</a></span><!-- .comments-link --> 1480 <span class="published-on"> 1481 <a href="https://vector-bsfa.com/2026/04/07/a-very-british-genealogy-of-zoefuturism/" rel="bookmark"><time class="entry-date published" datetime="2026-04-07T19:47:18+00:00">April 7, 2026</time><time class="updated" datetime="2026-02-03T19:52:17+00:00">February 3, 2026</time></a> 1482 </span> 1483 1484 </div><!-- .entry-meta --> 1485 </footer><!-- .entry-footer --> 1486</article><!-- #post-## --> 1487 1488 1489 1490 <nav class="navigation posts-navigation" aria-label="Posts"> 1491 <h2 class="screen-reader-text">Posts navigation</h2> 1492 <div class="nav-links"><div class="nav-previous"><a href="https://vector-bsfa.com/category/articles/page/2/" >Older posts</a></div></div> 1493 </nav> 1494 1495 </main><!-- #main --> 1496 </div><!-- #primary --> 1497 1498 1499 </div><!-- #content --> 1500 1501 <footer id="colophon" class="site-footer" role="contentinfo"> 1502 <div class="site-info"> 1503 <a href="https://wordpress.com/?ref=footer_custom_svg" title="Create a website or blog at WordPress.com" rel="nofollow"><svg style="fill: currentColor; 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