SETTING AND WORLD-BUILDING

 

 

 

 style!

 
 

 

 

Goethe identified three worlds in which dramatic action takes place:  

  1. The setting of objective physical reality: the immediate milieu of the characters and the surrounding natural world.
  2. The domain of the mind: Representation of consciousness of the characters. -- motivated POV and the Phenomena...
  3. The realm of fantasies, premonitions, apparitions, chance, and fate. -- Pathetic Fallacy and Fairytale unpremeditated magical realism...

 

 

 

 

 

Q. What is the importance of setting?

A. Setting, dramatic space, is among the dimensions and careful details key to any consistent and convincing story. The reader or audience may be enabled to piece together a mental map from the description of a location and the way elements are described in relation to each other, physically locating the narrative in any real or imaginary space.

Or else for better or worse, deliberately or by omission, a nowhere nowhen "white room" story or vignette, leaving the reader quite in a fog even as to spatial relationships, perhaps even by way of some convenient False Interiorization, may even unfold sans much or any indication at all of time frame or structures or place, past, present or future, even however generic, and whether the story takes place indoors, outdoors, at rest or in motion, the vehicle or locale at all whatsoever, prosaic as a day in the life nor colorfully exotic milieu as Space Opera.

Otherwise, at least so much as a tantalizing or evocative hint, or even just the extreme opposite, there are lengthily descriptive set pieces, unplotted stories lovingly delving into every atmospheric detail of the immediate environs and even elaborate guided tours, from the expository and Didactic to the symbolic and thematic. However, what is generally considered minimally crucial will remain the general tone. mood and physical details critical to the plot and revelation of key aspects of characterization.

Indeed, settings include the generic even jarringly so to the point of the unreal or Surreal, implying that the story could happen anywhere or even to anyone. Indeed, any convenient backdrop may have little or no effect upon the story. Likewise even for the most richly ornamental local color, despite every impression to the contrary.

But then again, atmosphere, tone and mood may reflect the state of mind of the characters. Indeed, setting may be integral to character background or symbolic.

For the multifarious simultaneous aspects and functions of setting are most effective in relation [Wayback mirror] to the other essential elements in the story, all manner of inference or even subtext by the suggestive power of the setting in detail of every reciprocal relationship that exists between beings and their surroundings. Indeed, setting includes cultural milieu such as appropriate not only to geographical location but the era, the historical past or whatever projected future of Soft Science Fiction, cultural context in the embrace of which to avoid separation of character from place, Point of View achieving the full emersion of fictional experience into the setting, to truly Bring Settings to Life beyond just Setting The scene.

Or, especially as in the man versus nature conflict, such as a plot that revolves around climbing a mountain, setting serves as obstacle or complication and even at the risk of Poetic Fallacy, a character, the antagonist.

Characters develop out of situation, and plot ideas emerge from characters in different situations and the actions undertaken because of their relationships and conflict on every level, the friction entailed as characters come into contact, every level of dramatic conflict, internal and external, classic reversal as in the estrangement of the bullied idealistic whistle blower.
 Put the whistle blowers in charge!

Fictional characters like real unto real people they generally represent, are wont to associate emotionally to setting via meaningful key "objects," not only real physical props, decor, senses, smell, mood, ambiance, light and sound, but also triggers of memory and motivation perhaps focused thereupon, sentimentality after a prolonged absence, or to heighten or show any range of affect and motivation from tragic loss to pleasant anticipation.

Good writing is akin to good reporting, conveying the level of intensity and other evocative qualities of any scene, or, for example, in the vital details of group scenes.

Setting including whatever stagecraft, design and props unfold better as characters come to notice and interact with their environs. What shows in specific scenes serve to support the story as a whole, even if all such vital considerations are to be deferred as in pod story technique, even collaboratively as in Improv scenework. For the elements of whatever type of scene or half-scene, in or of whatever time frame or structures, duration, and pacing, need to be well constructed and dramatic for Building Better Scenes.

Behavior from characterization driving plot much as true life interaction, is also in no small part determined by culture, the prism through which impulses and urges are sublimated and reshaped into acceptable behavior in any group or region. Even universal truths and eternal verities are flavored by ambient culture or milieu.

Female culture is distinct from male, young from old, black from white, European from American, artistic from scientific. Individual organizations have cultures all their own, to which people adapt, and adapt quickly, or else find themselves excluded. Small regions, even neighborhoods, have distinct, readable cultures, sometimes from one six-block area to the next, the depth and breadth of two highly different cultures, and then clashing them together, with all the inherent humor of such culture clash, self- awareness gained, reciprocal character development and new accommodation and renegotiation of socially constructed roles of milieu to situation.

After all, was it not the creator of James Bond - Agent 007, the author Ian Fleming himself, who maintained that there was never a good yarn that couldn't be improved by an exotic locale or setting? And what could be more vividly exotic than fantastic far away planets in the world of the distant future Space Opera?  But genres of hard or soft Science Fiction no less than anything current or historical, are often defined by their typical setting, because setting and sociological milieu are often actually such important plot points of situation, variously also establishing the tone or even making metaphor, events even foreshadowed by anticipatory imagery , allegory and imagery extending beyond the setting and creative stagecraft, design, props, ambience and other such associations to setting in the memory of any character, the Mise en Scène, visually conveying subtext, theme (essential understanding or recurring concept, often conveyed via some symbolic Objective Correlative motif or topos), and symbolism, or even facilitating  jamais vu, distancing effect and cognitive estrangement as often employed in 'Star Trek' social allegories. 

And, after all,  given that we are each and all, beyond the outcome of genetics, the product shaped by our environment, then setting, milieu and characterization will need to be consistent with one another for plausible and evocative believability, in showing just where as well as how, characters live, work and play. For the plot logic of deconstruction expands and unfurls consistent story elements and variations out from one another. In the rewrites, details reexamined serve as clues to a more rounded story.
 
Strong narrative voice is crucial to Characterization and Subtle Description of Setting, all together comprising The 3 Most Important Elements of Fiction Writing.  And there are many ways to reveal, demonstrate, show and evoke characterization as well as different types and methods thereof. 

Differing viewpoints upon relationships parallel not only the objective and subjective persons of narrative but also communication and the character interaction of plot and growth, systematically

Moreover, well rounded fictional characters like unto the real people they generally represent, are wont to associate emotionally to setting via meaningful key "objects" or personal symbols, not only real physical props, decor, senses, smell, mood, ambiance, light and sound, but also triggers of memory and motivation perhaps focused thereupon, sentimentality after a prolonged absence, or to heighten or show any range of affect and motivation from tragic loss to pleasant anticipation.  

Voice and tone afforded any motivated character's response, reaction or willful choice of strategy that will be determined largely by their POV , Point Of View, subjectivity, reflection, situation with Representation of consciousness, perspective or even entirely mechanistic particular involvement in whatever phase of any process considered, but also defined, guided and constrained by values, into somehow or other principled behavior. Indeed, motivated character POV (Point Of View) upon situation often turns out more definitive to story in TEXT, CONTEXT and subtext, even than plot variation.

Just such Character and setting INTERACTIONS and influence include the Phenomena of POV, situation of Epistemological "Given Circumstances" of information ever available to any given character, plus filtered perceptions superficial or deep Viewpoint with ambiguity and and often value loaded abstraction out of memory association and personal constructs of social cognition built from successive red herrings, innate naturally flawed Epistemological Methodology and elements of narrative even including Pathetic Fallacy, all redolent in theme.   

 

Q. What is situation?

A. On stage or off, every peripheral character remains central to their own personal story, motivated and independent POV, filtered perceptions and Interpretive Turn, and should so behave. Drama is the gripping and engaging tension-laden presentation of conflict on whatever level, whether or not the storyline is even believable. In drama, the conflict inherent to whatever situation, there are four elements of thirteen possible motivations:
What do characters want, goals ever put forth and why, what motivates them? And what aids or hinders whatever their quest? In dramatizing controversy, good motivated and dramatic dialogue makes it hard to tell who is right and who is wrong. "In a good play, everyone is right." But how far would they go? Or will they change and grow?  However, poorly staged or presented conflict on any level tends to lose most of the force of its inherent drama.

“People's level of motivation, affective states, and actions are based more on what they believe than on what is objectively the case.”   —  Albert Bandura

Any motivated character's response, reaction or willful choice of strategy will be determined largely by their POV, Point Of View, subjectivity, reflection, situation with Representation of consciousness, perspective or even entirely mechanistic particular involvement in whatever phase of any process considered, but also defined, guided and constrained by values, into somehow or other principled behavior. Indeed, motivated character POV (Point Of View) upon situation often turns out more definitive to story even than plot variation. For such is karma
 
Existentially, what then is freedom, indeed for whom is freedom? The dramatic scene breaks down into Motivation-Reaction Units: Immediate reactions are often reflexive, but then conscious deliberation ensues upon what action to take next. Or does it? Life can only be lived forwards, but only understood or recognized in hindsight. Indeed, do we consider our options and consciously take action, or do our actions simply come upon us as we react to situation, and only then rationalize afterward? People often make their most important decisions with their heart but only then rationalize intellectually. Motivations and goals as ever set forth thereby, meaning as only created in the mind, interpretation, values, moral sympathies and empathies included, so often ambivalent, are not willfully intended in free agency but received and imprinted in receptivity as we discover ourselves subject all thereto. Most dramatically, relationship, the impression made by characters upon one another, often dawns upon the individual in emotional response to events unfolding. Only then is action undertaken, consistently with characterization, often giving rise to conflict and Setting The scene.  

Hence, Problem Solving and Justification are reciprocal functions, and one must be shaped to rationalize the other, with integrity or else into hypocrisy.

In situation analysis or modeling or social behavior mapping, in avoidance of of fundamental attribution error (much less Hostile Attribution Bias), the causes and symptoms as well as contradiction, Sensitivity Analysis and inherent conflict on whatever level, between harmful and beneficial functions for all concerned, the drama in any given situation or scenario are clarified in relation point by point to a list of known situational factors as compared to a desirable optimum of most sound practices. Similarly, serving as a critique, evaluation and interpersonal comparison of well-being and justice in the evaluation of individual advantage and social arrangements, the Capability Approach to well-being and development therefore evaluates situations according to impact upon individual capabilities.

Even in situation analysis or modeling of the drama of the writer's striving towards self expression, there are six core polemically  purposeful motivations for dialogue salient to literate understanding or modeling of the rhetorical situation[ism] 

Risk is an aspect of situational factors, property of whatever given situation and determinant the most appropriate risk management strategy and response to opportunity seeking an ideal result. Whereas motivated characterization including relationships will determine the actual response, however sagacious or foolhardy. All manner of complex situational factors contribute to the complexity and uncertainty and therefore drama, of whatever desired outcome. Which is why, indeed, in the famous words of Clausewitz's disciple Helmuth von Moltke the Elder: "No battle plan survives contact with the enemy." -nor, for that matter, whatever other sort of antagonist, obstacle or complication.

Indeed, in the vast underground that is the alternative school system one of the most well-known and documented forms of learning is in the form of experience:

The Situationalists, following Jean Paul Sartre’s Existential philosophy that life is a series of given situations, figuratively, whatever combinations of conditions and circumstances at a given moment or state of affairs, influence of aspects of setting: physical, social and psychological, but literally the way in which one finds oneself positioned within one's surroundings  that affect the individual’s consciousness and will and which in turn must be negotiated by that individual, invented Psychogeography in order to deeply delve therein.

Indeed, while the reportage of exterior observation is dramatic, POV or Point Of View of a participant from inside the action, heightens immediacy. Picking the Right Viewpoint Character or reader surrogate, is among the essential considerations, because, whatever their uses, in some way all narrators, save, perhaps, the authorial spokesperson, remain unreliable, only one among many types of irony bourn by whatever voice in whichever person and by whatever vehicle.

Hence, to pique curiosity, the physical realism of Science Fiction may introduce one to whatever world or situation, sans cumbersome instruction manuals telling too much too soon, instead showing from the verisimilitudinous Edge of Ideas like unto the historical subtext of an invented and often far future or otherwise distant world or setting, abruptly, yet unfolding bit by bit, or even in some entirely novel and surprising manner, baiting the all important hook or grabber and more, actually central and unique to whatever the work's special appeal and invitation to the thrill of shared disorientation. For avid readers of Science Fiction are alert to seek out and make note of seeming incoherencies as tantalizing clues to the mysterious and fabulous world beyond the narrative, even somewhat likewise as the true lover of poetry must seize upon narratively inexplicable visual disruptions or conjunctions of sound. 

Indeed, immediate situation is colored by what Stanislavski dubbed the "Given Circumstances," even however socially constructed in milieu, along with setting, characterization and back-story as a Gestalt. Action should clearly reveal what characters do under their given circumstances and the motivation why.

The motivation of stimulus struggle is a perpetual striving to obtain and maintain the optimum degree and kind of stimulation from the environment. And this includes every crucial social stimulus provided by anyone eliciting response from anyone else within the same social environment. Human happiness greatly hinges upon the success of stimulus struggle. Pleasurable wellbeing is attained during optimal stimulus struggle, and suffers when stimulus struggle is thwarted. More optimal social stimulus struggle is more sociable. Better sustained and more optimal social stimulus struggle is more optimal also for making more compatible connection, forging and nurturing relationships and friendship. And along with the social environment or milieu, the physical environment, natural climate, architecture and more, all variously thwart and abet stimulus struggle.

The considerations of literal physical situation and location, relative spatial positioning, are certainly factored into the design and creation of all manner of temporary and permanent private and public spaces, the least of which being traffic flow in the light of real crowd behaviors, not to mention such Psychogeographic esthetic influences of interior design and even feng shui, even the hyperrealities of theme parks and shopping malls. Indeed, the richest venues show don't tell, impacting the very transforming experience of time, space and matter. But physical environment and bears influence upon spontaneous motion, in concert with social environment, can either foster propinquity or create isolation and alienation, certainly influencing human interaction and stimulus straggle which is the ongoing effort to obtain and maintain the optimum degree and kind of stimulation, including social stimulation, from the environment, for staving off boredom and loneliness.

Historically, architecture and urban design has always sprung forth organically with vibrant life all its own, reflecting bustling interaction within urban society. But all manner of intentional urban planning and design has also flourished. And in the modern world, deliberate urban planning on an ever greater scale, has appeared as a tool and an expression of policy and ideology, bringing the isolation of social and economic stratification, of rigid zoning for segregated usage, and has often met with all manner of disastrous unintended consequences and social failure: Everything from Suburbia, the vast bedroom communities with nowhere for people to go, and erasing the urban blight of Skid Row, thus turning out the troubled and impoverished occupants out onto the streets, beginning the pandemic of homelessness.

But even given the importance of stimulus struggle and particularly social stimulus struggle, and the impact thereupon of environment, there remains even more to inate motivation, after all, is human need defining the human condition, or, in 'Star Trek', the enigmatic and irresolvable "Human equation." Beyond practical interests, identity and principles not easily put up for trade and flaws that threaten all they hope for hold dear, that unique and original well rounded characters, just like real people of any depth, guard even at the cost of practical gain and happiness. Meaning and importance, all conceivable priorities and relevant values, unless they are one way or another decisively intellectualized, profoundly detached and disengaged in the extreme, ultimately emanate from needs and desires, attraction or aversion, fundamental motivations, selfish or altruistic. Otherwise, there can only be apathy and hence no problems to relate to at all. Deeper motivation, even world view, characterization, growth and the philosophical questions of drama, as distinguished by their dramatic gripping inherent conflict on every level, are all contextual function of the human condition or situation that has changed so drastically from the past that is the setting and milieu of historical fiction and into any modern time frame as reflected in contemporary culture, and most certainly will change into the future that is frequently subject matter of Science Fiction and futurological scenario planning.

 

Q. What are situational forces?

A. One of the most important discoveries in social science in the past few decades has been that of Fundamental Attribution Error (also known as correspondence bias or overattribution effect) (even to the point of Hostile Attribution Bias), the finding that all too often people will believe too strongly that personality differences of character are responsible for the behavioral variance and even, therefore, dissimilarity in condition and circumstance, that we all so readily observe between individuals. Whereas, in actuality, instead it may often be accident, the incidental or situational forces, especially manipulation under however relative conditions of captivity, that give rise to variation in individual behavior in response thereto. So, just how powerful are situational forces in pressing and confusing ordinary people beyond mere stymied alienation and actively into ego-alien behaviors, and under what conditions? The very question presses the drama on the level of inner conflict into the Surreal, even dreamlike, the unreal experience expressed via fantastic imagery and incongruous juxtapositions, seductive, fantastical, to horrific or even humorous effect, in art, fiction and parable, classic movies with simple plots but complex characters.

"Situational variables can exert powerful influences over human behavior, more so that we recognize or acknowledge. Seemingly small features of situations, like roles, rules, uniforms, signs, group identity, can come to control behavior as much as dispositional variables, such as traits. Human behavior is incredibly pliable, plastic. The line between good and evil is permeable and almost anyone can be induced to cross it when pressured by situational forces. Heroes are those who can somehow resist the power of the situation and act out of noble motives, or behave in ways that do not demean others when they easily can. Evil is knowing better, but willingly doing worse." 
Professor Philip Zimbardo: The Interview 
Indeed, just as observed by George Eliot: "No evil dooms us hopelessly except the evil we love, and desire to continue in, and make no effort to escape from."        
                
  Behaviorism
                     and The Pareto Zen

 

 

The poverty of 'The Society of the Spectacle'  

Guy-Ernest Debord is dead wrong in presenting what he calls: the spectacle as anything new to Capitalism. Indeed, another word for the spectacle might be:
milieu. For how are the great cities of the Aztecs or the Cathedrals of Christendom any at all less spectacle than the massive film set inspired architecture of Kim Jong Il's North Korea? Indeed, our oppressors will take any guise, Theocratic, bureaucratic, Plutocratic, military or outright criminal. "The spectacle is not a collection of images, but a social relation among people, mediated by images." So what else is(n't) new? Social relation among people have always been mediated by the imagery manufactured by their culture, indeed "the result and the project of the existing mode of production." The spectacle under Capitalism is only different to the extent that commodity is anything new. And the only thing new about commodity is the profound impact of mass production, in the 1950's even inspiring the marketers and advertisers explicitly fetishistic Utopian vision of high end possessions not only affording the masses gracious living, but subsuming all aspiration and
fulfillment; but such bland banality and pabulum indeed of course ultimately only feeding into mass alienation so long in mounting. And what is truly new under the sun in any exactly such hubris and vanity? Material wealth has as always been important. Moralism and Mysticism under any new guise, ever decrying crass materialism, has always been tiresome. For in truth, capability afforded by affluence has facilitated a shift in value judgment reflected also in spending, away from tangible goods and support services, instead towards memorable experiences, and in career and Entrepreneurship, likewise any shift in emphasis upon lifestyle considerations over profit alone. Economics has been criticized as amoral, but capital, like any other tool, is two-edged, and the market bears all values, responsible or irresponsible, that we bring thereto. None of which either comes as historically unprecedented. If anything is new and transformative, it is the hopeful yearning for freedom, the personal autonomy under democracy of Bourgeois liberation still sweeping the planet. Progress is not dead. And Communism remains a red herrings,.

 

 Defining Fictional Entrepreneurship, or: Design Fiction, the ability to make the impractical practical

Passive denial sinks even the most modest, banal and straightforward proposition into sheer empty pipedream, whereas honest due diligence ekes barest feasibility study at all even out from the most fantastic overreach. Because objectivity is never a secure foundation, but merely an honest intention of error detection and course correction along the way. -Rigorous business planning towards new venture creation as an exercise in extreme Science Fiction futurological scenario planning and detailed World Building even in predicting and rising to meet new needs themselves yet to arise.
"Design Fiction is making things that tell stories.  —  Jullian Bleeker, Near Future Laboratory
FoolQuest.com is YOUR invitation, likewise, to peruse content, weigh in, and partake of collaborative brilliance, online!

Science Fiction isn’t dying; it’s metastasizing

 

 

 

Q. What is Pathetic Fallacy?

A. As coined by the Evangelically trained leading Victorian critic of art and Literature, John Ruskin, in his 'Of The Pathetic Fallacy', the device, trope, even somewhat melodramatic implausible convenience, evocative figure of pathos, irrational distortion, convention or practice related to but somewhat less formal than the rhetorical trope of prosopopoeia or personification  in the Empathic Universe of metaphoric symbolic imagery and perhaps even melodramatic implausible convenience that is Pathetic Fallacy (Also known as Poetic Fallacy) as often used in poetry and in fiction and alas, also in dubious rhetoric and bad science, means ascribing, investment, endowment or false attribution or credit of, or control by or action from, human thought, intention, pathos, feelings, sympathies, responses and characteristics or characterization and motivation, via events even foreshadowed by anticipatory imagery, even in however personally symbolic signs and portents of Synchronicity, to the non-sapient, to inanimate objects or to nature and the outside world, even conceptual entities such as countries, inference or even subtext by the suggestive power of the setting in detail of every reciprocal relationship that exists between beings and their surroundings, projection that effectively convey truths of the inner world or view point, effort at depicting the outside world to Phenomenal inner life of thoughts and feelings, either with more adept subtlety or else, quite the opposite, as for most blatant example, angry weeping clouds as a thunderclap strikes in a moment of great emotion and bleak outlook, "the cutting wind breathed a mournful howl of disappointed fury at its victim's escape" , the raging storm lending backdrop to the mad ravings of a character distraught, gloomy skies on a sad day and the friendly sun emerging again even as more hopeful conditions are restored, the palpable fear that lived with us on the frontlines, and books that beg to be read.

All such devices of prose inevitably raise disappointed expectations in real life, and complaints, indeed, of contra-pathetic irony, sunny days actually contrasting bleakest tragedy and loss, followed by the most weather enshrouding and drenching the most spirited uplifting events and greatest joys.

No less, especially when all manner of faults and quirks seemingly lend expansive personality, attributes of life are easily projected onto machines, especially cars and other devices complex enough to develop all manner of quirks in use and wear, even seemingly more personality than an old hound dog! let alone computers bright enough to mimic and even learn from interaction. Indeed, conversely, living things may likewise assume, for the observer, attributes of machines.

Any motivated character's response, reaction or willful choice of strategy will be determined largely by their POV, Point Of View, subjectivity, reflection, situation with Representation of consciousness, perspective or even entirely mechanistic particular involvement in whatever phase of any process considered, but also defined, guided and constrained by values, into somehow or other principled behavior. Indeed, motivated character POV (Point Of View) upon situation often turns out more definitive to story even than plot variation.

Hence, pathos of any sort is often best achieved and accentuated by following that venerable maxim of writing style, show don't tell. And, indeed, the symbolism of the Pathetic Fallacy in particular brings to light the entirely subjective, either to character POV or authorial voice. -At least barring anthropomorphic prosopopoeia, or literal personification of Fairytale unpremeditated magical realism. Even if perhaps melodramatic and implausibly convenient, the Pathetic Fallacy is an aspect of writing style finding typical particular utilization most saliently pertaining to setting and even situation wherein descriptions are often intended to reveal moral or psychological aspects of character.

Because motivated characterization is shown by external description of physical appearance including physical characteristics often constituting symbolic elements along with meaningful names, Setting The scene and more, along with relationships and contrast between characters (foil), perhaps symbolic of any larger abstraction, with development or not, and any better hidden revelation and understanding gleaned from the reactions of others, dialogue and action; but also revelations of any character's own thoughts and feelings, via straight exposition or rhetorical discourse directly providing needed background information from the authorial POV, introspection of any character's private inner most thoughts and feelings from the POV of inner life, even interior monologue attempting to portray or convey, in words, the process of consciousness or thought as a means of narrating a story, even stream-of-consciousness of experience, the entire subjective Phenomena, as it passes by, often quite at random. All of which may be rife with personal symbolism and imagery.

Indeed, deft examples of Pathetic Fallacy, however unreal, indeed, even in the the unpremeditation of magical realism of Fairytale animism however Bathetically masquerading as (bad!) science in education, in many aspects are subjectively and Phenomenally  inextricable from subtext of setting and milieu that are often seen to form emerging character, even as in the veritable spontaneous generation of Heathcliff and Cathy out from the wild dark moorlands, and, reciprocally, entering the scene, that characters may likewise affect setting.  

 

 

Q. What is Psychogeography ?

 Robert Louis Stevenson once said that every adventure should start with a Map

A. Psychogeography is subjective geography, the art that endeavors to record and to understand the shifting and changing ambience even within the space of a scant few meters, the evident division of any city into zones of distinct psychological atmospheres, even the appealing or repelling character of certain places and the path of least resistance which is automatically followed in aimless strolls through the streets, all quite regardless of the physical contour of the ground. Mapping to begin with, entails complex relationships between representation and thinking, technology, culture and aesthetic practices in reconstruction of the three-dimensional world onto a flat surface. Except in their cartographic objectivity, otherwise maps are inevitably and entirely biased in the selectivity of their content and in their signs and styles of representation, articulating and structuring the human world. And far from striving for any more scientific visualization, the Situationist Phenomenology of Psychogeography actually abandons even the constraints of objective cartography.

Beyond merely cognitive Feature Integration Gestalt of Spatial Contextual Awareness, Psychogeography seeks to chart the influence of the outer environment upon the human mind, as well as, reciprocally, world view, the Phenomenal creative mental emotional process of meaningful association in memory to locale and environment which is so key to the most evocative and thematic or even tone, subtextual use of setting in fiction, more and better developed detail to guide the reader through character focalization, filtered perceptions from prior experience, of context, bias, Phenomenal and interpretive frame of reference, 'spin', propaganda, or the scarce resource that is Point Of View, superficial or deep Viewpoint, and elements of narrative, each with it's own distinct advantages and disadvantages and often conveying perception, sense or presentation of time frame or pacing, and into the setting; facilitating thereby a reasonable description in character and plausible to the situation, stressing that which whatever such an individual would likely prioritize, react to and notice first under whatever particular circumstances, will help to avoid an unlikely artificial seeming separation of character from place, though again, bearing in mind: Who's voice?

For fictional characters like real unto the people they generally represent, are wont to associate emotionally to setting and milieu via meaningful key "objects" or personal symbols, not only real physical props, decor, senses, smell, mood, ambiance, light and sound, but also triggers of memory and motivation perhaps focused thereupon, sentimentality after a prolonged absence, or to heighten or show any range of affect and motivation from tragic loss to pleasant anticipation.

Indeed, unitary urbanism striving towards a collective and non-specialized fusion of all art, architecture and urban planning towards a subversive transformation of the urban landscape in tune with the psychological behavior of the occupants the lonely crowd, the Situationists, following Jean Paul Sartre’s Existential philosophy that life is a series of given situations, figuratively, whatever combinations of conditions and circumstances at a given moment or state of affairs, but literally, the way in which one finds oneself positioned within one's surroundings, that affect or even subvert the individual’s consciousness and will and which in turn must be negotiated by that individual, and, in turn, life in an immersive environment, the ongoing spectacle of media and architecture monopoly and manipulation or simply the more traditional pacifying mythology, to entrance the masses deprived of decision and and define modern society, interpersonal relations mediated, trivialized and obstructed by advertisement images and consumption, invented Psychogeography, the study of the precise effects of geographical setting upon the emotions and behavior of individuals, and practiced the dérive, or drifting, an aimless wandering stroll even making use of the cyclical randomizing formulae of twists and turns provided by Algorithmic Psychogeography, to produce complete and utterly abstract Psychogeographal maps, nonetheless uniquely providing concrete walking directions to their idiosyncratic focal points, thereby presenting a social, experiential or Existential interpretation of space itself as fragmented and discontinuous such that areas which are experienced as distinct are pulled apart on the map with the arrows on Psychogeographal maps serving to connect, locate only relatively, the different areas via the forces of attraction or appealing ambiance and unwelcoming repulsion or exclusion experienced along the resultant path of least resistance, and the abrupt change of ambiance into distinct zones in the course of the dérive.

Tech Guide - Shooting Action Scenes similarly emphasizes setting with space and props for all action scenes no less than for the chase [chart].

 

Q. Of What purpose is Psychogeography ?

A. "Explorers who wander the world as psychogeographers have various motivations — political, artistic, scientific, technological, philosophical, historical. There are those who engage in demographic research, social protest or urban ethnography and the documentation of overlooked spaces [even of the red light district]. Others study patterns of movement and navigation by setting specific parameters for constrained walks. Audio/visual artists and writers who use the landscape as raw material gather objects, data and recordings, and often alter their cities by means of stickers, graffiti, performance or intervention. Some psychogeographers use GPS receivers to locate hidden caches or make drawings in the landscape. High-speed networks and wireless devices are also being used as psychogeographic tools. Areas of related activity include urban planning, cartography, gaming, virtual environments, the creation of mazes and labyrinths and urban code (tagging, warchalking, hobo signs). Finally, there are always those who stroll, drift and wander simply for the pleasure of turning the next corner..." (perhaps even into the Red Light District.)

 

 

 

 

 

Q. What are the practical applications of unitary urbanism?

A. Theoretical unitary urbanism and field research of the Situationist International was only actually put into practice as audience participatory street theatre combined with graffiti, by the much despised Second Situationist International splinter group. At all more ambitiously, deploying modular staging, props and more, all manner of events may be planned for experimentation, promotion and capitalization toward, eventually, any sort of even more innovative and subversive permanent amusement destination.

 

Bold speculations towards an entrepreneurial unitary urbanism
Engaging interaction amid enriched environment
Alienating stimulus impoverished environments are everywhere. We need better.
Planet Frolic TM
Enriched environment
 
Playwork in service even of grownup end-users? Think of Bonkers or the Discovery Zone for adults too.
As well as retail operation open to the public, an in house corporate version might serve a range of functions, from daycare to brainstorming and after hours retreat,
designed to overcome the Existentially Absurd, Ecclesiastically futile alienation of so called: recreation, from metaphorically jumping through the proverbial hoops everywhere else people go to meet.
 
“The truly great advances of this generation will be made by those who can make outrageous connections, and only a mind which knows how to play can do that.”   — Nagle Jackson

“The opposite of play is not work, it is depression.”   — Brian Sutton-Smith

 
 
Even adults still need more than solitary passive amusement even in public.
 
Event planners, striving to optimize stimulus struggle for attendees, understand that no less vital than the material comfort of relaxing furniture at a good buffet, the best icebreaker can be a table of various games and construction toys along with a graffiti board in order to gather attendees in talk and play, often far better than the dance floor and flashy lightshows which, to the increasing chagrin of club owners, has become so boring since the decline of Disco. People are still looking for more and better than such passive consumption as movies and dining followed by distressful boring repetitive activities at the gym to then work off the sedentary calories! Indeed, all manner of disinhibition is seen as desirable in social interaction, and indeed may be facilitated situationally, for the joyful rediscovery of healthy active imaginative rough and tumble play and more. 
 
The greater the range of discrete components, solid or virtual, within the Planet Frolic TM play area, the more diverse the experience to share and interact in stimulus struggle, both in object play and socially. All manner of hyper instruments and kinetic art can also likewise accommodate interaction with and amongst multiple patrons all at once. Observably, the responsiveness for adult play may seem to differentiate from that of children in a need for slightly greater intricacy and interaction for engaging creativity and concentration without much structure. And there are many strategies to cultivate such interaction, from sophisticated VR-like Hyper Instruments and ruggedly constructed interactive sculpture exhibits, to various modular Rube Goldberg toys already on the market. Even trash and recycle bins and other mundane tasks, can be gimmicked with entertaining light and sound. 
 
We are all familiar with Kinect for the Xbox, similar to the Wii that has finally gotten sedentary video gamer couch potatoes on their feet and moving, but with video motion sensing and capture for the entire range of interpretive full body movement as input, and hence with no need of any hand held or worn device. Imagine wiring an entire large public space with similar technology! Indeed, a fully functional Laser Tag like system can be integrated into the play environment, such as to allow anyone to jump right in or break at will with no wait. With current technology, pounds of special gear as with Photon, will no longer be necessary. With ordinary real-time video input, computer systems can now readily detect, distinguish and point tabulate hits by lasers, Nerf projectiles, poolside squirt gun streams or even distinguish and coordinate various automated light and sound FX for, different simulated weapons and super powers attacks as intended, from pantomime alone!  Improv with audience participation can integrate also Assassin games, murder mystery parties and LARP, live action role playing, complete with ever popular cosplay and fan service consensually reciprocated by ogling and bird-dogging, even the ultra-mild kink of Valentine themed feather dusters, non lockable groping cages and nonrestraining restraints suitable to flirtatious Damsel in Distress role play in in a classic mad scientist laboratory dungeon motif, safe and bully/prude proofed under the new mandate of adult Playwork. Various props, costume, and gag items often help release the proverbial Inner Child, bound raise a smile at any age
 
Healthy active fun that needn't be rationed by waiting in line may also include: bumper cars, bumper boats, and tidal pools with inflated inner tubes accommodating crowds of satisfied patrons for fairly long periods of time until one reaches the shore again. A swimming area featuring aquarium glass walls and floor sections. Clothing may even be optional, after hours. Features of trampoline parks might be integrated, including not only floor trampolines but also trampoline walls and foam pits, integrated also with such familiar water park features as diving pools to splash down into and slip-and-slide, indeed further enhancing any Laser Tag experience along with prowling attack robots rolling through a distorting mirror Labyrinth of fire fountains and water falls with fog generators concealing Jacuzzi hiding places with massaging shower heads, for ambush and sniping, crawl spaces with unusual features to explore and discover, various quaint nostalgic Carney Funhouse style gimmicks including along with the classic decorative mirrors and spectacle, obstacles and moving unstable flat surfaces and stairs, undulating, rocking, dropping and tipping and other various “floor tricks,” spinning disks and rotating barrel passageways and obstacles, strategically located joy buzzers and other harmless booby traps, jump out surprises, optical illusions, for patrons to see and be seen by one another, subjected to sound effects and risqué gimmick booby traps on passages at close quarters including eerie wind tunnels with air-grates, startling floor mounted ducted air jets for blowing up skirts in the venerable Coney Island tradition, likewise as in the old Steeple Chase ride, together offering even greater pretext for oh-so-Chivalrous assistance and support and occasion for abrupt body contact, flirtation and provocation. 
 
Waiting lines for all manner of slides and water slides can be eliminated by speedy escalators to the top, together with coordinating technology borrowed from amazing cutting edge emergency escape systems for skyscrapers, Rube Goldberg shunting people quickly into different shoots and slides, escape routes alternated cyclically to prevent collision.
 
For longer stays, exhaustion, comfort and privacy as needed, accommodations for a cutting edge Planet Frolic TM destination, might include Japanese style high tech "Coffin Motel" enclosed bunk bed cubbies cable/satellite TV ready, videophone, and Internet access built right in; also by delivery for retail purchase or rental.
Applied Situationism: The considerations of literal physical situation and location, relative spatial positioning, are certainly factored into the design and creation of all manner of temporary and permanent private and public spaces, the least of which being traffic flow in the light of real crowd behaviors, not to mention such Psychogeographic esthetic influences of interior design and even feng shui, even the hyperrealities of theme parks and shopping malls. Indeed, the richest venues show don't tell, impacting the very transforming experience of time, space and matter. But physical environment and bears influence upon spontaneous motion, in concert with social environment, can either foster propinquity or create isolation and alienation, certainly influencing human interaction and stimulus straggle which is the ongoing effort to obtain and maintain the optimum degree and kind of stimulation, including social stimulation, from the environment, for staving off boredom and loneliness.
Historically, architecture and urban design has always sprung forth organically with vibrant life all its own, reflecting bustling interaction within urban society. But all manner of intentional urban planning and design has also flourished. And in the modern world, deliberate urban planning on an ever greater scale, has appeared as a tool and an expression of policy and ideology, bringing the isolation of social and economic stratification, of rigid zoning for segregated usage, and has often met with all manner of disastrous unintended consequences and social failure: Everything from Suburbia, the vast bedroom communities with nowhere for people to go, and erasing the urban blight of Skid Row, thus turning out the troubled and impoverished occupants out onto the streets, beginning the pandemic of homelessness.

A new call therefore rises forth, for urban planning and architecture as responsible adjunct of social engineering which is a discipline in social science that refers to efforts to beneficially influence particular attitudes and social behaviors as desirable in whatever target population.

Features of any environment may include food, activities and the combinatory compatibility of different people there at any given time, a variable that may in future be better guided and facilitated on the new frontiers of automated network Sociometry, perhaps even profiling physical environments as well as products, services and other people for matching and recommendations. And further possible marketing applications include commercial venue franchise spinoff. Because beyond theatre and setting, situation includes all factors of human interaction and stimulus struggle, the perpetual striving to obtain and maintain the optimum degree and kind of stimulation from the environment.
 
Stimulus struggle often meets with debilitating protracted frustration because so much social outreach nowadays has regressed into such an Existentially Absurd, Ecclesiastically futile, joyless and meaningless alienated" recreational" chore, predicated upon bland insincerity rather than vibrant expression, lonely boredom and routine rather than creative reciprocal engagement (either play for its own sake, or purposeful problem solving and innovation), aloof restraint rather than flirtation, conditionality rather than curiosity, disordered indifference rather than attachment, controlling snobbery rather than gregarious and egalitarian hospitality, and situationally: the quailing heteronymizing decidophobia of humiliation and faux pas rather than the Transactionally authentic rugged and autonomous dignity of social risk.
The Existentialists perceived how people in modern society remain consumed, alienated and even mentally dissociated with inauthentic demands of socialization to an empty life, including, especially: recreation, the desperate Existentially Absurd and Ecclesiastically futile effort and struggle to recover, on ones own time and expense, from the debilitating learned helpless sheer exhaustion, fear and loathing of exactly the ever so vigorously marketed dubious practical and Existential guarantees they all swear by, namely their dysfunctional family lives and the scholastic and employment career ret race, thus becoming alienated, stressed out, bored, lonely and starved of creative social stimulation and spontaneity.  Beyond the sheer Absurd Existential futility of so called: recreation, Playwork activism in support and facilitation of individual freely chosen play,  also by the creation, cultivation and defense of literal and figurative playful space, therefore also consists of advocacy and intervention in order to enable the extension of play, though always striving at balancing risk-benefit.
Further possible tie-ins:  
 
The Penny Stock Arcade TM casino alternative
showcasing the FoolQuest.com Virtual (pre-)Incubator Biz Plan Metacontest TM,
Sign up for Integrated Recovery in a Biospheric Ecological Science Fiction and motif Green Pro-Space Agenda space age themed setting and showcase for hydroponic vertical farm and market on site, including a fruit and vegetable juice and smoothie bar providing liquid refreshment along with fresh produce in support of the other themed restaurant concessions, and also fine salads at deep discount when purchased with other entrees.
 
Fungus Among Us, onsite fungiculture and gourmet cuisine.

The Granary is conceived of as a bakery and international pasta shop, specializing in ordinary whole grains, not pricy organic. Bulk grain will be repackaged for discount retail, processed into whole grain flour, and thence into pizza, plus bread and pasta also provided in support of the other restaurant concessions. There will be no bleach and bromide, so that white flour, if at all, will come the old fashioned way, by longer milling time.
 
Feature Chef showcasing the cuisine of different up and coming culinary masters, providing also cooking lessons and televised content. 
 
Mideast Food Fight Sitcom themed restaurant and live soundstage for round tables of peace process for television content. Service at Mideast Food Fight is to be provided by a small cast of continuing stereotypic comedy characters:
 
The camera pans over walls decked with photo portraits of assassinated peace makers in crosshairs, and seating booths themed as bombed out car wrecks, and on the floor, various colored jagged territorial dividing lines, represent the various different boundaries with Israel as designated by year. Announcer: "They may call it bitter and tasteless, but never has senselessly tragic intractable conflict ever been so delicious!" Suddenly there is an eruptive exchange of flying food! On one side, behind the kosher deli counter, the whiny Hasidic Jew complains: "Terrorist sympathizer! You've got Humus on my brisket!" On the other side of the space, behind an Arabic food counter, the Islamic militant seethes: "Infidel Zionist! You've got pastrami in my couscous" But suddenly they are both completely wide-eyed distracted by the entry of the blithely ignorant and unbelievably naive flaming bigoted Midwestern jaw-dropping buxom blond waitress, name tagged: Shiksa Goddess, for whom they both lust after so hopelessly. "I'm still confused about why these two frequent separate meat markets, but at times like this I find it oddly reassuring." she confides to the camera.
Build Jerusalem?!
 
According to rumor, the concept is of an ongoing TV and film location and theme park, open to international tourism and education, is of an accurate recreation of the temple at Jerusalem as it was in antiquity, populated by actors in period costume, somewhere in Israel. Yet if that should be deemed blasphemous or too controversial, perhaps Cyprus might do well as a second choice. Then again, the American Midwest, the Bible Belt, might make for a lucrative locale, where all manner of Biblically themed recreations and amusements are popular. But that would be far less novel.
 
However, even in Israel, no matter the possible religious outcry and shock value, such a venture would probably not actually be illegal. Indeed, a film and television set on location would not even be objectionable. The set would then remain permanently for reuse, and eventually begin offering tours open to the public, evolving finally into the theme park of historical re-creation.
 
Candid reality TV/movie prank at Mideast Foodfight:
Imagine, even as a hoax, at a staged business meeting, pitching the business plan before the most carefully selected and predictably scandalized and generally incompatible of prospective backers and supporters, and recording video as hilarity ensues! Eat your heart out, Borat!
 
Playfulness reduces stress and brightens the mood. And while there is by far the more to happiness than by itself the absence of stress, even in the short term, stress-relieving activities remain nevertheless vitally contributory to optimization of stimulus struggle. A feature of play is the self regulation of arousal and stimulation via individual control of the play situation. Play addresses the needs of stimulus struggle. Play is active pleasurable engagement that opens connection and attachment, learning and growth. Play, convivial fun with peers, chatting, laughing, social games, imagination, coquetry and conversation, joking and enjoying time together, is egalitarian. Sociability is defined by sociologist Georg Simmel as the pleasurable play-form of sociation, detached from hierarchical behavioral structure and positions or roles, often an expression of cultural identity and even an underground act of resistance. Indeed, according to H.G. Gadamer’s ”philosophical hermeneutics” 5.Gadamer, H-G.: ”Der Begriff des Spiels” in ”Wahrheit und Metode” vol. I. 1960., play is the key category through which human beings are brought on terms with the world and to mutual understanding. Playfulness and fun are attractive and disarming, signaling good will and flexibility. Human adults remain drawn to play. As Eve Tushnet expounds, Eros is deep reciprocal engagement bridging into alien difference. "Pleasure is terrifying because it breaks down the boundaries between people. Embracing passion means living with fear."  writes Erica Jong in: 'The Zipless Fantasy'. In the words of James Dickey: “The true feeling of sex is that of a deep intimacy, but above all of a deep complicity.” And the very first fragile spark of that complicity may indeed often fly at first sight! Important spontaneous and intrinsically motivated playful genuine non verbal communication in elicitation of rapport, includes simple flirtation and joy of attunement play consisting of "bed room eyes," eye contact, radiant smiles, momentary immediate connection, attachment, shared laughter, fun and social "grooming" honestly eliciting values of any permissive sense of safety, imprinting trust and inclusion, even reciprocal comfort template learning motivated from the Natural Child Transactional ego state.

"Desire intrigues us, stirs the soul. We love stories about desire--tales of love, sex, wanderlust, haunting nostalgia, boundless ambition, and tragic loss. Many of the great secular thinkers of our time have made this fire, this force that so haunts us, the centerpiece of their thinking." observes Ronald Rolheiser in 'The Holy Longing.' "Pleasure is terrifying because it breaks down the boundaries between people. Embracing passion means living with fear."  writes Erica Jong in: 'The Zipless Fantasy'.

Yes, fun and silliness make for such a wonderful outlet in order to break the ice, socially. So why are they often so hard to come by? For one thing, even the best opening must lead to depth and substance of engaging meaningful fulfillment of human interaction. Another major problem is that anything to cultivate any type of vulnerability whatsoever, inevitably draws crackdown by cockblocking slut shaming prudes and bullies. Therefore, an entire culture is necessary in order to staunchly defend all such liberties, so that bullies won't find traction. Even in the very near future, optimal social integration may also best be fostered by automated network Sociometry. In the here and now, advocacy of the engineering of such proposed intentional bully-proofed and individual-safe cultures is a part of CliqueBusters TM   
“You can discover more about a person in an hour of play than in a year of conversation.”   — Plato
 

  Play Types:

Boredom

TED: serious play

Play, may range and progress from whatever relaxed idle fidget and introspection, quiet and deeper solitary engrossment, observation and questioning conversation, perhaps then mimicry in parallel as in similar activity with the same toys or props, to just socializing, and finally any stronger cooperation even with any goals put forth and rules. Indeed, constructive play applies locomotors skills towards any symbolic expression. The motivating play drive, impulse or need spurs initiation of the play cycle by any verbal or non verbal play cue expressing and signaling the desire for play, so that any others may return the serve, all boundaried within the play frame thereby created, into the play cycle which winds down and terminates for each party withdrawing again as whatever satisfaction is derived. Play cultivates gross and fine motor skills, language, cognition, problem solving and discernment of information relevance in decisions and strategic planning, as well as communication, cooperation, empathy, social expectations and self control under frustration so essential to impulse formation. Indeed, one positive value of boredom is in how transitory frustration from external under stimulation in solitude facilitates inner focus, inner life, imagination and creative play. The freedom of play is in superfluous voluntary activity compelled neither of necessity nor moral obligation. Indeed, play is disinterested interlude, an intermezzo to be suspended at any time and boundaried in a temporary sphere with a disposition all its own. That play is only pretend and generally low priority, absolves not from proceeding with utter seriousness, adorning and amplifying life, necessary and meaningfully significant both within the culture and for the individual, absorbed and reciprocal engaged with an even rapturous devotion, communally withdrawn from customary norms of daily life, temporarily suspended, in order to achieve extraordinary secret charm lasting beyond the duration of any individual game.
 
Relationships, particularly friendship, arise only as a byproduct of purposeful interaction and/or substantive communication, never otherwise. In the words of George Orwell: “The main motive for 'nonattachment' is a desire to escape from the pain of living, and above all from love, which, sexual or non-sexual is hard work.”  But even play is known to enfold its own intrinsic purpose, substantive communication, effort and even hard work.
 
Engagement in playful interaction, visceral or intellectual elicitation of the desire of perseverance amid a stimulus enriched physical environment, can better facilitate neglected and underserved needs of nurture for intelligence via optimal reciprocal engagement and stimulus struggle, including steady positive emotional support, exploration and fun, active participation, sensory stimulation, with opportunity for social interaction, freedom from undue pressure and distress though suffused with a degree of pleasurable intensity or: eustress, with varied selection and alternatives of successive novel challenges neither too easy and boring nor too difficult and frustrating, promoting lifelong growth in a broad range of skills and interests, intellectual, physical, aesthetic, social and emotional.
 
Relationship is an attachment arising either from free and coherent even substantive communication, or indeed from common purposeful interaction and endeavor or else from the seduction of play that finds purpose and substance of its own within itself, and from the dignity of social risk with trust, security, ultimately openness in yielding to temptation; all the aforesaid that are the competencies of autonomy, along with organization and congenial social grace to manage and sustain contacts, reciprocally.
 
-All that is such anathema and typically obstructed by such drone-like heteronymously arbitrary social acumen, skilled incompetence and cronyism, that everywhere buttresses the tacit institutionalization and twisted value of indeed all the most flagrant insensitivity and ineptitude imaginable, the bad driving out the good, and worse, actingout the destructive evil that is rampant bullying. Indeed, gregariousness and engaging personality may even be reviled as subversive and impertinent to a malagenda of sheer heteronymous group validation in sheer denial of all such profound endemic and pandemic alienation from all true innate and intrinsic drives of human expression and connection.
 
 
 
 

Q. What is Literary Psychogeography ?

A. No less than more standard cartography, Psychogeography, perhaps less formal than the stucturalist reading of cultural milieu through semiotics, might serve as a tool that can find useful and creative application to world-building, the authorship of setting or even be redeployed in such various applications as the mapping of Cyberspace and other semantic networks for historiographical purposes in the writing of historical narrative and historical fiction. Indeed, Literary Psychogeography examines the influence of physical surroundings on the instinctive behavior of individuals as recorded in literature in the widest sense rather than as distinguished, narrowly defined and signified by the much vaunted capital "L", bringing history to life and enabling an audience to wander freely, watching, listening and examining the influence of physical surroundings upon the instinctive behavior of individuals as recorded in the written records left behind by a people or an era with crucial accuracy and detail.

Even the very Art of Active Reading is far from passive, intellectual and interpretive participation entailing construction of alternative narratives, imagination and visualization, adjustment of emphasis to suit one's own interests, and assembly of the story or information into whatever the cognitive schemata and context that make up one's own systems of knowledge and belief.

After all, any motivated character's response, reaction or willful choice of strategy will be determined largely by their POV, Point Of View, subjectivity, reflection, situation with Representation of consciousness, perspective or even entirely mechanistic particular involvement in whatever phase of any process considered, but also defined, guided and constrained by values, into somehow or other principled behavior. Indeed, motivated character POV (Point Of View) upon situation often turns out more definitive to story even than plot variation.

Indeed, in good historical fiction, the past as no less than the future is to be found quite a different world from the familiar present, with motivated characterization to match, no less than in the futuring of capable Science Fiction.

In the words of Toni Morison: “The ability of writers to imagine what is not the self, to familiarize the strange and mystify the familiar, is the test of their power.” For as Eve Tushnet points out in Eros and Education, even so integral and elemental a vital impulse as sex is meaningful expression of Eros, more than the quest for completion and transformation, the oft frustrated desire for connection, liberating union with alien difference inevitably first demanding resolution out of conflict on whatever level, arising from any dread of the vulnerability entailed. "Pleasure  is terrifying because it breaks down the boundaries between people. Embracing passion means living with fear."  writes Erica Jong in: 'The Zipless Fantasy'. Even the very Art of Active Reading and listening is far from passive, intellectual and interpretive participation entailing construction of alternative narratives, imagination and visualization, adjustment of emphasis to suit one's own interests, and assembly of the story or information into whatever the cognitive schemata and context that make up one's own systems of knowledge and belief.

But as Eve Tushnet concludes: "A union in which one partner is not vulnerable is an invasion; if neither partner submits, it is an armed truce. [And] Neither of these experiences frees us from the tyranny [and intrinsic loneliness of self involved banality.]"  And exactly such is the blithe provinciality of anachronistic present day assumptions and sensibilities so lamentably typical of sheer hack writing!

 Pitfalls: Guidelines on Writing Backward, A Few Thoughts on Elements of The Art of Historical Fiction and -why?

 

Metahistory: History more drama than Epistemology

 

 

Q. What are shared constructed worlds and world-building? 

A. The venerable old Marvel Comics practice of heroic meticulous cross-continuity now vies for respectability. For much as in the folkloric tradition such as of the olden Arthurian legends of Camelot further appended and elaborated by every bard in turn, shared fictional background becomes the canvas for different individual authors to write stories into the same cannon, milieu and settings

Details of setting and milieu may wait for development as needed while the story makes the world to suit. However, conversely, much as all else in the logic of plotting scenes readily follows from pertinent decisions what need be shown regarding motivated characterization and conflict on every level, with dramatic obstacles, likewise, even the world-building details of setting and milieu may derive plot from all manner of practical challenges or even a world theme or unique situation.

As with any whatever mode of joint authorship, the extent that participation is allowed or encouraged to the public at large, especially, as often, Online, much as with Cyberfiction, shared world-building may also likewise optionally be practiced as copylefted Open Source Fiction unless all rights of participants are simply surrendered to the forum host for legal convenience.

And, no less as with RPG, utilization of any such Science Fiction or Fantasy shared worlds beyond simple research of the real world and history that we already share or the world views and mythologies already inherent in familiar genres, even more so than any work by any single author alone, may first entail world building, Creating Fantasy Worlds, any fictional constructed world or conworld, even the collation of extensive "bibles" cataloging the individual or collaborative invention of fictional background, way of life, imaginary constructed cultures, conlang, setting, locales, milieu, history and so forth, or even the Hard Science Fiction entailed in the construction of hypothetical other worldly environmental conditions and ecosystems, often in great detail, unless one blithely floats a Laputa.
 
   imaginary texts       

                 conlang

For example, just as polemical persuasion also includes textual evidence consisting of discrete citations from texts to support evaluation or interpretation of said texts, likewise in fiction, there may be the supporting device, artful or contrived, of citation from imaginary texts within any fictional world or setting.
 
Of course, the technical rigors of application to, or world building in the context of, programming computer simulated Virtual Reality or 3D World Building passes beyond the scope of fiction crafting even in whatever media.
   

Why The Film is Better than the Book

 
 
 
 
 
 
 
The Extrasolar Planets Encyclopaedia
Alien Planet Designer Earthlike Planet
Solar System Synthesis3-D Star Maps Astrogators Handbook
Linked world-building resources for WorldWrights:
influence key types "bibles"

conworld     •

       

 religion*    

 *Atheism 

 
 
 
World Building Made Easy...er
  
 
           Ever expand the horizons of your own private universe
  with diverse culture and experience.           

 

 

 
Ten Issues for Hard Science Fiction
 
Atomic Rockets - information on designing and building scientifically accurate spacecraft for science fiction. Also: Starship Design Project

 

 

 

Join right in brainstorming an original fanfic spinoff!
Q. What distinguishes the Star Trek: The Ship of Fools format in particular, from other STAR TREK series, in any media, fanfic included?
A. Star Trek: The Ship of Fools in particular, from other STAR TREK series, in any media, fanfic included?

Beginning with the outline for introductory six part mini-series also serving as series "bible" for Star Trek: The Ship of Fool, no effort has been spared by glossing over that which is merely perfunctory and dull. Nothing should be included unless it is interesting, provocative or dramatic. To provide new and colorful motivated and even unique and original well rounded and multifaceted characters, and to speculatively advance the ramifications, or at least take over the top rather than simply rehash or further trivialize, the most appealing STAR TREK tropes. 

And that  Star Trek: The Ship of Fools outlines and drafts are truly unfinished, with much to be added and changed, rich with points of creative departure for anyone to join right in a real ongoing online writer's bull session. Not just dullardly anal formulaic filling in of the blanks with the obvious simply for the sake of completion in immersive detail, even however arbitrarily.

 

Q. Why the title? 

A. The Ship of Fools, sacred fools, is a classical allegory of the human condition, blind and impulsive in hopes of salvation. And Star Trek: The Ship of Fools is a tale of encounter with the unknown from Rashuman-like multiple perspective, and corresponding dramatic conflict on many levels from clashing motivation

Hieronymus Bosch Annotated schooled fools yellowdog

 

 

 
       

 

        

Copyright 2001 - 2017 by Aaron Agassi