The latest edition in this wonderful series of science-fictional typography has some truly twisty turbolift tangents.
Benjamín Labatut draws a line from the Vedas to George Boole and Claude Shannon onward to Geoffrey Hinton and Frank Herbert’s Butlerian Jihad.
In the coming years, as people armed with AI continue making the world faster, stranger, and more chaotic, we should do all we can to prevent these systems from giving more and more power to the few who can build them.
I really like the format of this bit of journo-fiction. An interview from the future looking back at the turning point of today.
It probably helps that I’m into nuclearpunk just as much as solarpunk, so I approve this message.
Atomkraft? Ja, bitte!
Cardigans are not entirely necessary for a show or a film to fit within the Cardigan sci-fi subgenre (although they certainly help). It’s the lack of polish in the world, it’s the absence of technological fetishism in the science fiction itself. The science or the tools or the spaceships do not sit at the heart of Cardigan sci-fi — it’s all about the people that wear the cardigans instead.
Marvin has some competition! Here’s another beautiful sci-fi variable font:
MD Nichrome is a display typeface based on the typography of paperback science fiction from the 70s and early 80s.
Brand identity in sci-fi films, like Alien, Total Recall, Robocop, and Back To The Future.
This makes for a nice companion site to Sci-fi Interfaces.
William Gibson, Arthur C.Clarke, Daniel Dafoe, Stephen King, Emily St. John Mandel, John Wyndham, Martin Cruz-Smith, Marina Koren and H.G. Wells.
There is a crack, a crack in everything. That’s how the light gets in.