Friday, December 2, 2016

What's new in the world of cli-fi? UPDATE INTERVIEW

Anything new in the cli-fi world?

A major news portal, THE CLI-FI REPORT, with several icon buttons to choose from here: cli-fi.net


Any new interviews or news articles or opeds on the horizon?

A big interview with a literary website in the USA is coming up soon, scheduled now and the reporter is calling next week.

Any good literary articles or book reviews of cli-fi novels recently?

Biggest next big thing is Kim Stanley Robinson's new cli-fi novel titled ''NEW YORK 2140'' and skedded for a March 14, 2017 pub date.

Cli-fi in Hollywood. Any new cli-fi movies in production or pre production or ready for release soon?

The new Nicolas Cage movie is shooting in Canada now, and set in 2030 near future. Dystopian cli-fi. Cage will star in the action thriller “The Humanity Bureau,” with shooting in British Columbia.

Rob King is set to direct from a script written by Dave Schultz. Sarah Lind, Jakob Davies and Hugh Dillon have also joined the cast.

The story is set in 2030 with global warming wreaking havoc in parts of the American Midwest. In its attempt to take hold of the economic recession, a government agency called The Humanity Bureau exiles members of society deemed unproductive and banishes them to a colony known as New Eden.

Cage will play an ambitious and impartial caseworker who investigates a case appealed by a single mother (Lind) and her son (Davies). RELEASE DATE: SUMMER 2017

In academia, any new cli-fi classes set for this semester or next? Any recent academic articles or quotes from them worth highlighting?


Yes, a lot is happening within academia and among academics worldwide now with cli-fi. Symposiums, online forums, academic papers, and more.

  

A professor tells this blog: "I’m awaiting word now on a possible grant for a project on cli-fi where I, in collaboration with two colleagues from another college, will have reading groups read cli-fi novels in their location (so, ''The Water Knife'' in AZ, Kim Stanley Robinson's "NEW YORK 2140"  in NYC), journal about their reading, and discuss it with us. We’ll try to take some measure of the effects of cli-fi novels on their imaginations of the future and their climate politics."  

See ''The Holocene Hangover'' by University of Chicago professor  Fredrik Albritton Jonsson .  

Thomas Davis in the English department at OSU in Ohio notes that he will be teaching a cli-fi seminar in the spring of 2018, adding:  "A bit far off, but I’m collecting materials now."

Some forthcoming cli-fi related papers from the desk of Austrian professor Alexa Weik von Mossner:
Troubling Futures: Cli-fi Modes and the Feeling of Risk
The short article is part of an extended forum on the meaning of the term “cli-fi” for American Studies in the journal Amerikastudien/American Studies. It examines American climate fiction through the lens of risk theory (Beck) and through psychological approaches to the perception of risk (Slovic, Leiserowitz), including both fiction and non-fiction formats in its deliberations as well as a number of hybrid formats that imagines the risks associated with climate change.
(forthcoming in an essay cluster on cli-fi in Amerikastudien/American Studies, edited by Julia Leyda and Susanne Leikam)
Climate Risk and the Thrill of Terror in Paolo Bacigalupi’s The Water Knife
The Water Knife is perhaps Paolo Bacigalupi’s his most successful attempt to date at conjuring future climatic conditions in a way that allows readers to imaginatively experience them. The essay uses the analytical tools of cognitive ecocriticism to demonstrate how Bacigalupi’s dystopian novel uses the human bodies of characters and their sensual and affective capacities in order to allow readers to imaginatively experience a decidedly unpleasant future world. Bacigalupi uses anthropogenic climate change as a catalyst for drastic developments in the ecological, economic, and social realm, inviting readers to understand on a visceral level that changed climatic conditions will inevitably lead to such conflicts and vulnerabilities.
(forthcoming in Meteorologies of Modernity. Eds. Sarah Fekadu, Tobias Döring, Isabel Kranz and Hanna Strass. REAL: Yearbook of Research in English and American Literature. Tübingen: Narr)
Vulnerable Lives: The Affective Dimensions of Risk in Young Adult Cli-Fi
The article focuses on the psychological dimensions of readers’ engagements with dystopian young adult climate fiction, arguing that the mental simulation of a fictional climate-changed world can offer much more than simple entertainment or escapism. Instead, it might impact teenagers’ understanding of the social, economic and ecological risks associated with climate change. The article builds on research in the psychology of fiction in its examination of the narrative strategies of Paolo Bacigalupi’s YA cli-fi novel Ship Breaker. It demonstrates how the novel invites young readers to an imaginary and yet embodied experience of a dystopian future world that may wish to avoid.
(forthcoming in a special issue of Textual Practice on ““Fiction in the Age of Risk,” edited by. Golnar Nabizadeh and Tony Hughes-D’Aeth)
Touching the Senses: Environments and Technologies at the Movies
The essay explains how film techniques and technologies play on human brains’ embodied simulation to create empathetic responses in viewers, and then analyzes Jeff Orlowski’s Chasing Ice and the results of the reception study about the film that I conducted together with Brigitte Hipfl. It not only shows how the film creates emotional responses in viewers, but also addresses the reasons that those responses do not necessarily translate into action. Despite the ways in which we “live in denial,” the essay argues that such films can contribute to long-term cultural change.
(forthcoming in The Routledge Companion to the Environmental Humanities. Eds. Ursula K. Heise, Jon Christensen, and Michelle Niemann. New York and London: Routledge)
QUOTE FROM ACADEMIC IN EUROPE: - "The term cli-fi has not only been proliferating at recent international conferences, but also within university curricula as educators in many disciplines embrace the recent spate of fiction and film dealing with climate change in humanities courses and beyond. ...In my study of cli-fi, I consider the proliferation of the term and theorize about its usefulness. If the novelty of the term itself provokes discussion, perhaps that too makes it an asset in generating interest climate change-related fictional and screen texts.''
 

 


Cli-fi novels. Any word on new and upcoming cli-fi novels in the pipeline, either from the publishing world or self-publishers?

The ''next big thing'' is Kim Stanley Robinson's new cli-fi novel titled ''NEW YORK 2140'' and skedded for a March 14, 2017 pub date

Where's cli-fi headed these days?

#Writersofcolor penning ''cli-fi'' novels worldwide - part of our 25-part #CliFi YouTube Video series https://www.youtube.com/watch?v=b4_PbuCnVb8&t=21s

Who's in charge of cli fi these days and who owns the term, if anyone?

Nobody is in charge, it's an open meme, and nobody owns cli-fi or ever has. It belongs to the world,  and has taken on a life of its own after its initial quiet and almost invisible launch. Most people still have never heard of the term yet -- 90 percent of the general public have never heard the term or seen the term in print. It's still early days. But things are cooking, yes. Slowly. Simmering.

Overseas Tweets? Yes!

  1. Jonáš Zbořil @jonaszboril 20 小時20 小時前
  2. neporadíte mi dobrý non-fiction o ekologii, civilizačních kolapsech, dystopickejch vizích a věcech jako je svalbard global seed vault?
  3. Jan Nemček @jan_nemcek 18小時18 小時前
    Moc jsem toho z cli-fi nepřečetl, ale líbil se mi Solar od Iana McEwana.​

Thursday, December 1, 2016

Nicolas Cage Starring in Cli-fi Action Thriller



 
 
Nicolas Cage Starring in Cli-fi Action Thrillerset for release SUMMER 2017

BUT FILM PROFESSOR IN USA TELLS ME RE THIS MOVIE: '
''Thanks for pointing this out. But 2030 seems too close to the present to be plausible or compelling. Sounds pretty-B, straight-to-DVD, to me. ''





November 30, 2016


Nicolas Cage will star in the action thriller “The Humanity Bureau,” with shooting starting this week in British Columbia.

Rob King is set to direct from a script written by Dave Schultz. Sarah Lind, Jakob Davies and Hugh Dillon have also joined the cast.

The story is set in 2030 with global warming wreaking havoc in parts of the American Midwest. In its attempt to take hold of the economic recession, a government agency called The Humanity Bureau exiles members of society deemed unproductive and banishes them to a colony known as New Eden.

Cage will play an ambitious and impartial caseworker who investigates a case appealed by a single mother (Lind) and her son (Davies).

“The Humanity Bureau” is the second title in a six-picture slate deal between Minds Eye Entertainment, VMI worldwide and Bridgegate Pictures following Wesley Snipes’ “The Recall.” It will be shot in the Barco Escape multi-screen, panoramic movie format Portions of the films will also be shot in Virtual Reality.

Minds Eye International has North American distribution rights while VMI Worldwide has international rights. Producers are Kevin Dewalt, Danielle Masters and Kelly-Rae Buchan. Executive producers are Andre Relis, Wayne Marc Godfrey, Guy Griffithe, Robert Jones and Frank White.

Do today's crop of dystopian cli-fi novels have to be so grim? Yes, they do. And here's why!

Do today's crop of dystopian cli-fi novels have to be so grim? Yes, they do. And here's why!
 
AGREE OR DISAGREE? COMMENTS MORE THAN WELCOME BELOW
FOOD FOR THOUGHT: ''Do today's crop of dystopian cli-fi novels have to be so grim? Yes, they do. And here's why!''
An oped from the ideas behind cli-fi dystopiana
by staff writer
Cli-fi is a genre ripe for popularity in the times we live in and here's why. In an era of impending climatic meltdown, the rising new genre is jammed with dark reflections of the age. On film, there have been a handful of recent examples— 2014’s The Rover, last year’s Mad Max: Fury Road—but the phenomenon has been more pronounced in novels. .
We are, as the old saying goes, living through interesting times, and today's cli-fi novelists and screenwriters are clearly as receptive to that as the rest of us. They’ve being influenced by the chaos creatively: If you’re going to make a novel set in the future, a dystopia just makes more sense. Dystopia means disorder and conflict, two things that the storyteller thrives on; a vision of the future where all is well is likely to be less compelling.
Some might say the moment for dystopian climate novels has come at the wrong time. But no, the time is right.
If the function of a fictional dystopian future is to scare us out of complacency, then there must be merit in the many of the current crop of cli-fi novels and upcoming movies being as dark and unforgiving as possible. It may not be wholly pleasurable to be subjected to such grim visions but this kind of cli-fi has an important role. Critics can argue that such novels are too bleak, but what would be the point of offering false hope? What would be the use in pretending otherwise?
The fictional utopia of a future like Star Trek’s is so comforting as to allow us to relax and ignore what troubles we face as a species. But the likes of the current crop of dystopian cli-fi novels offer no such comfort. They force us to sit up, elucidating as they do future fears we aren’t fully able to contemplate. For example, though we’re far from feeling the worst of climate change, many of these cli-fi novels today, present a worst-case-scenario for where we might end up if we don’t swerve from the current path—the equivalent of a smack to the head. Such novels and upcoming cli-fi movies are more useful than those that are cautiously optimistic, and inspiring in their own way, precisely because they’re so cynical.
Sure, messages of positivity and hope are useful right now, but there should also be no illusions about the enormity of the dangers we currently face. The day may come when we get to bask in the warmth of a plentiful Star Trek utopia. To get there, we first have to face reality: that we’ll see no utopia on this present trajectory. Dystopian cli-fi may not always be fun to watch, but at least it helps us come to grips with some sobering, essential truths—and, hopefully, get some way toward figuring things out.

Monday, November 28, 2016

Here is the application I sent in to the New York Times when they were looking for a new editor for their new climate reporting section (with POLITE REJECTION AS ''FORM LETTER'' AT BOTTOM)

“The Times,” read the the announcement for the paper's new Climate Editor job, “is ramping up its coverage to make the most important story in the world even more relevant, urgent and accessible to a huge audience around the globe.” It went on to add that applicants should prepare “a memo outlining their vision for coverage… this vision is the most important part of the application.”
 
Although I was busy with my cli-fi work in September, cli-fi colleagues and friends encouraged me to apply. Having already thought long and hard about what the future of climate journalism ought to be, as a journalist myself, and as a longtime reader and follower and regular commenter at Andrew Revkin's very good DOT EARTH Blog at the Times, I put some ideas together, and sent them an application.
 
Here's an edited version  of my application. I didn't get the gig, of course, but applying for it was worth the time in writing down my thoughts and ideas.
How can we revitalize climate reporting? Here are my ideas.

1. Make The New York Times ''the future of climate journalism'' (an application  for the Climate Editor position) by focusing on the rise of the new genre of cli-fi in novels and movies.
 
The New York Times undertook this effort at an amazingly opportune moment. I've been working at the forefront of cli-fi PR and literary theory for a while now now. I see that the field of Climate journalism is about to be transformed. The Times could be at the forefront of that transformation by focusing on front page stories about cli-fi novels and movies and interviews with related literary agents, publishers, acquiring editors and of course cli fi novelists and screenwriters and literary critics. In addition, the Times Sunday Book Review and the Times daily book reviews should focus on cli-fi novels and literary criticism of such novels. We are at the edge of tomorrow. The future of the human species is at stake within the next 500 years. Cli fi novels and movies can help raise awareness and even foster action. Enough of the front page stories about distractions and movie stars. We need to shift gears and the Times does, too. See the Cli Fi Report for starters at cli-fi.net


So it's time to rethink the aims of the NYT climate journalism, its approach to coverage and its targets for audience engagement.
The Times can lead by seek out new audiences, new voices, and new methodologies that all work together to enable powerful storytelling about cli-fi novels and movies and literary and culural criticism about cli-fi. On a daily basis. On the front page at least once a week. In the unsigned editorials once a month. And in opeds three times a week at least.
I think the opportunity can be summed up in three apparent ideas:
1) It’s by focusing on cli-fi that the Times will grow its reader engagement.
2) It’s by reporting more on the rise of the cli-fi meme and cli-fi novels and movies that the Times will make these issues easier to understand.
3) It’s by making its coverage more exploratory on issues related to cli-fi novels and movies that the Times will make that coverage more vital.
Let me explain.

Many people already understand the reality of the greenhouse effect well enough to see that we need to be acting to reduce greenhouse gas emissions and prepare for climate impacts.
Some, though, not only understand the basics, but have begun to grapple with the larger challenges of how do we learn more about what’s coming, how do we act, how do we prepare. THE ANWSER: by reading and writing and reviewing cli fi novels and movies.
Narrowing the audience focus of climate coverage to concentrate on cli-fi — even if it alienates readers who are opposed to climate change  issues— can energize these readers.
Informed climate readers are not a small audience. The Yale Program on Climate Communication has been studying American’s perspectives on climate change for years now. As of March 2016, they found 45% of Americans have deep concerns about climate change, with 19% of American voters already what they term “alarmed” about climate change. These people already have basic understanding of climate change as an issue, and are scared. They think it’s serious crisis, that they’re feeling the effects now and they support real changes.
I suspect that Times readers include a disproportionately high number of these people. These readers have an unmet need. The answer is to focus on cli-fi as the Times did in a popular ROOM FOR DEBATE forum on July 29, 2014.
READERS need climate journalism that deepens their understanding of cli-fi stories and how we act, how we prepare. They need climate coverage that’s keeping up with the speed of change. They need climate coverage that speaks to the questions they have about that change.
All the coverage that The Times’ climate desk does should be aimed at serving these readers of cli-fi novels and movies. By making coverage more vital and compelling to the people who already know and care about climate, the Times can not only grab their attention, but find fresher angles and untold stories that are likely to be more interesting to others as well.
In my experience, informed climate readers have different concerns and passions than other readers.


Even more: they want journalism that has itself moved on to report on the rise of cli fi novels and movies. Enough of charts and boring statistics. We need literature and cinema to show us the way.
That means they want critical reporting on cli-fi .
The biggest single story on our planet is the rise of cli fi novels and movies worldwide. The Times should be covering this daily.

The scientific debate about the existence and causes of climate change is settled. We know climate change is happening, human-caused, and almost entirely the result of energy consumption, land use changes and industrial processes. The only genuinely interesting story now, in addition to the emergence of feedback loops (for example, carbon dioxide and methane leaking from melting permafrost) is the rise of the cli fi genre among novelists, critics and screenwriters.
The much, much more critical story concerns the rise of cli fi. How much warming can we expect? How much will the sea rise? How far will weather patterns shift? What are the second- and third-order risks of climate impacts (for instance, how can the Western U.S. prepare itself for future megafires)? What are the limits on our ability to adapt to, ruggedize for, insure against and rebuild after climate-connected disasters? Cli Fi novels and movies can tell these stories best of all and the Times should be covering this meme daily, on the front page and inside.
One idea: A series of frank discussion of cli-fi on the editorial pages and in opeds assigned to well known thinkers and literar critics

My direct experience is that people are fascinated with the questions about the shape of the world to come. They worry about impacts to their own lives, families, jobs and communities. They want to get a sense of how changes might feel as we live through them. Cli-fi novels and movies can help them understand the dire straits we are in as a species on planet Earth and please capitalize Earth in all uses in the Times. PLEASE. No more lowercase earth.
One of the biggest failures of climate journalism to date has been its inability to bring home to readers changes that have already occurred in the literary world vis a vis cli-fi. So make that your mission.

One possibility: have a weekly online feature where a global visionary -- from different nations and cultures -- is asked for their take on how cli fi novels and movies might change  as the climate crisis deepens.
Done right, exploratory coverage of the cli-fi meme can not only help the Times beat the competition to the punch time and again (making its coverage essential reading), it can also make the more deeply reported stories the Times publishes even more authoritative.
In Conclusion
Exploratory, frontline coverage of cli-fi in great stories and contextualized through systems journalism, aimed at those who already want honest, fresh perspectives can make the Times the leader in literate and literary climate journalism. I’d love to see that vision happen at the Times.

If you found this application interesting or useful, please recommend it and send it to friends via email or tweet it or put it on your Facebook and send  a copy or link to the New York Times public editor at  public@nytimes.com -- and send it to reporters, academics, literary critics and culture mavens worldwide.







***"
​REMEMBER : ​
Curious, empathetic, compassionate: What we should be as human beings.
​ And the New York Times climate coverage, too!​
"***

THE ''Cli-Fi ''REPORT:
50+ academic & media links:
http://cli-fi.net

NYT Rejection letter/ form letter that was sent to all 867 applicants ...re:
NOTE: THEY STILL DID NOT ANNOUNCE THE FINAL APPOINTEE!

+++++++++++++++
Subject:        New York Times Climate Change Editor Application
Date:   
From:   NYTimes Recruiting <nytrecruit@nytimes.com>
To:     Nytimes Recruiting <nytrecruit@nytimes.com>

Thank you for applying for the climate change editor position at The New York Times.
We received an enormous response and have chosen our finalists (*note plural noun*) for the position, and we are sorry to inform you that you were not selected as one of the finalists.

We appreciate your interest in The Times and thank you for sharing your work with our search committee.

We wish you much success in the future.

Sincerely,
Richard G. Jones
News Administration

SECOND FORM LETTER

Thank you for emailing the recruiting team at The New York Times.

Finalists for open positions will be contacted within the next several weeks, and we’re committed to notifying all applicants of their status.

Best regards,

Richard G. Jones
Associate Editor, News Administration

Saturday, November 26, 2016

THE END TIMES: a newspaper for the End Times (2016 - 2516 A.D.)



''The End Times'': a cli-fi newspaper that does not go defunct until January 1, 2500 A.D. -- that's 30 more generaations of man (and women)

WRITERS WANTED: we want to interview cli fi novelists worldewide who are working on dark cli-fi novels about the END TIME, circa 500 years from now, and how they novelists envision the End Times and how we can help prepare our descendants for what's coming -- psychologically, spiritually, mentally, -- as things get progressively worse over the next 30 generations.

SEND EMAILS TO ABOVE ADDRESS: we still have time, lots of time, but HURRY!


================

NEWS ITEMS TO APPEAR HERE AS THEY APPEAR IN THE MEDIAL. STAY TUNED

Friday, November 25, 2016

''Cli-fi is still an embryonic genre that reminds in many cases the early, naive, science fiction of the 1930s. And yet, it is growing and turning into literature. ''

UGO BARDI in Italy writes:

"So, in this difficult moment of late 2016, we are seeing something moving, out there. A new form of literature that embodies our future, makes it real, tells us about it. And it is not a good future. It is a terrible future. It is a future that most of us refuse to contemplate, even though we know that it is there, even though we refuse to admit it. This new literary genre takes the name of "Cli-Fi" in reference to sci-fi, of which it is in some ways the continuation [as a subgenre of SF].




''It is still an embryonic genre that reminds in many cases the early, naive, science fiction of the 1930s. And yet, it is growing and turning into literature. Italian novelist Bruno Arpaia has written a harsh and unforgiving cli-fi book in Italian titled "Something out There", [also translated for a Spanish language edition now] the story of a group of dispossessed migrants who try to reach Northern Europe, leaving an Italy devastated by climate change and only a few will make it. Surely not an optimistic book, although it has elements of hope. But it is a book that does the work that a literary piece must do: showing to you the change ahead.

''It is not by chance that I cited Dante; a cli-fi novel like Bruno Arpaia's one is comparable to the comedy's first cantica, the one about Hell. It sounds like the very first lines of the Comedy, where Dante tells of having been lost in a "dark wood," with its typical cli-fi theme: people desperately looking to escape from the climate disaster. And it is our situation: we are completely lost; unable to find our way out. Someone still has to write the cli-fi equivalents of the other two canticas of the Comedy, the one about Purgatory and the one about Paradise, and that will make it possible for us to understand what is in store for us. Can narrative take us out of Hell? Hard to say, but it is certain that without a narrative of the future, we can have no future.''

-- UB

''Cli-fi is still an embryonic genre that reminds in many cases the early, naive, science fiction of the 1930s. And yet, it is growing and turning into literature. ''

Tuesday, November 22, 2016

HEADLINE: ''Dan Bloom: How a concern for future generations changed my life..."

''Dan Bloom: How a concern for future generations changed my life..."

I didn't get involved with ''Cli-Fi'' because I had a novel I wanted to write. I'm not a writer. But something pulled me in, something I had never felt in my younger years, a feeling that only came upon me when I turned 60: a deep concern for future generations 500 years from now and how they might cope with global warming impact events then. If there is to be a "then."

That's what pulled me in to ''cli-fi.'' [Cli-Fi is a short nickname for ''Cli''-mate ''Fi''-ction]. I was thinking of children and their parents thirty generations from now. Climate change has not really started yet, but we can see the warnings all around us, not just in government charts or in scientific measurements of the build-up of  co2 in the Earth's atmosphere.


You can see in the people around you, their fears, their worries, their anxieties. We know AGW is for real and it's not going to go away. That's what gnawed at me, drew me in.

Now I'm cli-fi 24/7. Now I'm spending part of my days scouting the year 2500, looking into a future that may very well become real sooner than we think. But I'm willing to give humankind 30 more generations before the shit really hits the fan. I want to be generous. I don't want to scare anyone. I don't want to be an alarmist.

But I see dead people, billions of dead people 30 generations from now. I know you don't want to hear this or even see these words in print, but it's what the IPCC reports and other scientific  handwriting on the wall has led me to see. I'm not scared, and you shouldn't be scared either.

There's still plenty of time to get our lives in order, 30 more generations of children and grandchildren.

That's how I came to cli-fi, or rather how cli fi came to me. I want to read those novels, both dystopian and utopian. I want to see those movies, both hopeful and unspeakably messy.

Remember the Hollywood movie ''On the Beach'' filmed in Australia in 1959 with Gregory Peck and the stellar cast? I envision a climate themed movie based on a climate themed novel that becomes the ''On the Beach'' of the Anthrocene. A global warning, an alarm bell, a warning flare. Cli-fi.


Someone will write it. In the next 100 years? Or sooner?


See The Cli-Fi Report for news links at www.cli-fi.net