Future Visions: Original Science Fiction Stories Inspired by Microsoft is an anthology of short stories written by some of today’s greatest science fiction authors. These visionary stories explore prediction science, quantum computing, real-time translation, machine learning, and much more. The contributing authors were inspired by inside access to leading-edge work, including in-person visits to Microsoft’s research labs, to craft new works that predict the near-future of technology and examine its complex relationship to our core humanity.
Interesting idea. Download it for free. There are some excellent authors in the collection.
It’d been years since I had seen Stalker, Andrei Tarkovsky’s excellent science fiction film, and I watched it last night. For a science fiction movie, Stalker is certainly an oddity. Released in 1979, loosely based on the short novel Roadside Picnic by Arkady and Boris Strugatsky, and directed by Tarkovsky, the masterful Russian director who lived too short a life, it tells the tale of a part of Russia that has been visited by an odd event. It may have been a meteorite that fell, or it may have been an alien visitation. But the event created the Zone, a dangerous area which was cordoned off by the police, and where few could go.
A Stalker – a sort of guide who takes people through the traps in the Zone – meets up with two men who want to visit the Room, a place where wishes come true. One is a Professor, a man of reason, and the other a writer, a man of inspiration. The Stalker is a man of belief. Very little happens in the movie, which lasts more than 2 1/2 hours, except for their trip to the Room, and their discovery of what they want from it.
Stalker is science fiction only in its premise; there are no aliens, no magic, nothing that would be noticed as science fiction. It is a slow movie; very little happens, and some of the shots are several minutes long. It’s a science fiction movie as it would have been written by Samuel Beckett. Yet it’s a brilliant existential examination of the desires of men and women.
At first, the film begins in sepia-toned black-and-white, but once the three characters reach the Zone, the film changes to color. Just as Oz was in color, so was the Zone. The Zone is located outside an industrialized city, and is full of the detritus of modernity. Yet Tarkovsky films these banal, cast-off items with the plastic beauty that he showed in all his films. Some of the shots are breathtakingly haunting, yet there is nothing special in them.
In a prescient shot, near the end of the movie, the Stalker can be seen returning to his home with his wife and daughter, and, across the river, a nuclear power plant is seen. The Zone could be the area surrounding Chernobyl. There is no devastation, simply signs of nature taking over some human artefacts.