Now Then’s Ten

Surfacing briefly to note with pride that Now Then is celebrating its tenth anniversary this year.

Now Then Magazine - Tenth Anniversary edition

I stumbled across Now Then during my first weeks in Sheffield, way back in the autumn of 2012, when I was desperate to make some connections to the local cultural scene, and to find a new venue to write music reviews for. Now Then is basically an ad-funded arts-scene free-sheet, and generally I don’t write for such publications on principle; as a rule they’re awful, full of shamelessly fawning promo passing itself off as commentary, with tawdry production values and even lower editorial standards. Now Then stood out immediately: its print edition (which doesn’t run during the summer, so as to save money) is always a gorgeous piece of printed product, fronted with original art commissioned to purpose; its reviews are written with genuine passion, and are permitted to be critical; it carries poetry, short fiction and humour, and it carries editorial and local-political content that puts both of the local “newspapers” to shame by comparison.

My PhD and other work has meant I’ve not been a very regular contributor to Now Then, but of all the free-to-air venues I’ve ever reviewed music for, it’s the one I’m proudest not only to tell people about, but to show them a physical copy. Perhaps the most solid endorsement I can offer is that I pick up a copy every month, whether my words are in there or not.

Sheffield’s a city with a fair few problems and difficulties, most of which are political in origin. But it teems with people working hard to make a difference, not just for themselves, but for everyone else. Sam and the gang at Opus are solidly in the latter category, and Now Then is product and platform all at once. I’m reyt proud to have contributed to it, in however minor a manner.

(You can read my latest review in this month’s online edition.)

To interest, amuse, or instruct

Many definitions of story emphasize the fictional part. However, there’s one major definition that gives a wider, and in my view more accurate, interpretation: “A narrative, either true or fictitious, in prose or verse, designed to interest, amuse, or instruct the hearer or reader.”

[…]

But back to hypotheses — and vocations. People become scientists because they want to tell stories, preferably exciting, original ones; and once trained in their discipline they weave stories without cease — stories that attempt to explain how the universe and its inhabitants are made (they also explain why, unless someone insists on intelligent design or intent). Before the stories go into the testing crucible, they’re called hypotheses. Observations or measurements are done in the framework of a story at its hypothesis stage. If a story jibes with reality, it gets renamed to theory. To put it succinctly, science cannot be practiced without stories, without the call and response between story and world. The stories dictate what experiments/observations get done; the stories, to some extent, dictate what conclusions are drawn (and thereby can bias the venture, as all powerful stories do).

Athena Andreadis, who knows whereof she speaks. The sociologically-minded will note the clear echoes from e.g. Haraway and Latour and other STS headz in this description of (techno)science as a narrative endeavour. However, the importance of the “sensawunda” aspect doesn’t always make it through, and I’m interested in working with the notion of the technoscientific imaginary to see if there’s a way to bring that forward.

Contest and re-engineer the universal

“For Laboria Cuboniks, the universal is synthetic – it’s a political category. It’s not something that is discovered, or progressively unearthed, but represents a ‘we’ that is collectively built, and which can be rebuilt in more emancipatory forms. Again, this can be understood as an effort to construct vectors of unanticipated and constructed solidarities. I see this as being in direct opposition to the bloated particularity that has conventionally been passed off as the universal and which has largely cornered the market on popular understandings of the generic since the Enlightenment. Xenofeminism doesn’t want to reject universality – though I totally understand the impetus – but instead wants to contest and re-engineer the universal.

Helen Hester interviewed at The Quietus. I kinda missed xenofeminism the first time round, mired as I was in specifically thesis-pertinent theory at the time; looks like it would be well worth my addressing that oversight.

(And can I just say how good it is to see a music-and-culture organ like The Quietus covering theorists as if they were an important part of the culture? Because it is very good.)

Starship Titanic now boarding; destination, Mars.

In her overview of the political and economic dimensions of Iain M Banks’ fictional output for Lawyers, Guns & Money, Abigail Nussbaum makes this typically insightful aside:

This also brings us to our second reason for talking about the Culture in 2018, the fact that Amazon has recently announced the acquisition of the rights to the series, and is planning to make a miniseries of Consider Phlebas […] as someone who values Banks for the politics in his writing, it feels positively Black Mirror-esque for Amazon to try to use the Culture as yet another plank in its planned takeover of the world’s economy, the ultimate in how capitalism co-opts revolutionary ideas. That Jeff Bezos—who might have been a Banks-ian villain if he weren’t so depressingly ordinary—has called the sequence “a huge personal favorite” without any apparent sense of irony just feels like confirmation that Banks’s ideas are now completely beside the point.

This irony-free misparsing of science fiction is not unique to Bezos among the entrepreneurial titans of the Valley. Par example, in this interview from 2013, Elon Musk cites Douglas Adams’ Hitchhiker’s Guide as an inspiration:

“I guess when I was around 12 or 15…I had an existential crisis, and I was reading various books on trying to figure out the meaning of life and what does it all mean? It all seemed quite meaningless and then we happened to have some books by Nietzsche and Schopenhauer in the house, which you should not read at age 14 (laughter). It is bad, it’s really negative. So then I read Hitchhikers Guide to the Galaxy which is quite positive I think and it highlighted an important point which is that a lot of times the question is harder than the answer. And if you can properly phrase the question, then the answer is the easy part. So, to the degree that we can better understand the universe, then we can better know what questions to ask. Then whatever the question is that most approximates: what’s the meaning of life? That’s the question we can ultimately get closer to understanding. And so I thought to the degree that we can expand the scope and scale of consciousness and knowledge, then that would be a good thing.”

After a few readings, I’m not sure quite how many times the cart and the horse change places in that logic-pretzel; surely more times than are necessary to reach such a banal conclusion. But it is nonetheless totally beyond me as to how you could come to that conclusion after reading a series of books in which no plan is ever made that doesn’t go massively awry in a manner totally unforeseen by its progenitors, and which are ultimately about the ineluctable meaninglessness and absurdity of both the universe and our existence therein*. Wikipedia’s summary of the mid-section of Restaurant at the End of the Universe illustrates my point rather well, I think:

Ford and Arthur […] end up on a spacecraft full of the outcasts of the Golgafrinchan civilization. The ship crashes on prehistoric Earth; Ford and Arthur are stranded, and it becomes clear that the inept Golgafrinchans are the ancestors of modern humans, having displaced the Earth’s indigenous hominids. This has disrupted the Earth’s programming so that when Ford and Arthur manage to extract the final readout from Arthur’s subconscious mind by pulling lettered tiles from a Scrabble set, it is “What do you get if you multiply six by nine?” Arthur then comments, “I’ve always said there was something fundamentally wrong with the universe.”

Well, quite.

Just as Nussbaum easily sees Bezos as a sub-par Banks villain, Musk appears to me less inspired by Hitchhiker’s, and more a character discarded from early drafts of it for being that little bit too absurdly on-the-nose a satire of human hubris.

* – This is my blog, and the Intentional Fallacy can piss right off.

science fiction / social theory / infrastructural change / utopian narratology