SCI FI sector: types of SCI FI in the future


By Henryk Szubinski

types of SCI FI available sectors of the future
as basic type 1 type 2 type 3

as equated to H2O technology


1) space pioneering

2)theoreetical astrophysics

3)adventure and falling in love with the way outer space looks in any place in the universe as developements of the basic emotion of fluidity , displacement,and

The term free love has been used since at least the 19th century[1] to describe a social movement that rejects marriage, which is seen as a form of social bondage, especially for women[citation needed]. The Free Love movement’s initial goal was to separate the state from sexual matters such as marriage, birth control, and adultery. It claimed that such issues were the concern of the people involved, and no one else.[2]
Much of the free-love tradition is an offshoot of anarchism, and reflects a civil libertarian philosophy that seeks freedom from state regulation and church interference in personal relationships. According to this concept, the free unions of adults are legitimate relations which should be respected by all third parties whether they are emotional or sexual relations. In addition, some free-love writing has argued that both men and women have the right to sexual pleasure. In the Victorian era, this was a radical notion. Later, a new theme developed, linking free love with radical social change, and depicting it as a harbinger of a new anti-authoritarian, anti-repressive sensibility.[3]
Many people in the early 19th century believed that marriage was an important aspect of life to “fulfill earthly human happiness.” Middle-class Americans wanted the home to be a place of stability in an uncertain world. This mentality created a vision on strongly defined gender roles, which led to the advancement of the free love movement.[4]

a space opera or theatre as the motion implied body language of the expression of emotion in fluidity by the actors role

links to
4)taking over star systems

5)making money in the hundreds of billions for star system economies linked by such amounts with any star system by trillions of credits

6)making documentaries with SCI FI content for the future

7)making images by paintings of the types of spaceships and planetary environments that are as yet unthought of

8)designing technologiees in the design sectors of scifi movies that could possibly be part of the near future as conceptual designs

9)the thrill of having friends that share the same interests in SCIFI and the disscussions between them as resultance of new CONCEPTS

10)the basis of feeling ones way AND THE intuition OF THE FUTURE AS A SENSE EXPERIENCE THAT CAN BE DESCRIBED


a)developement into developementally higher motivations of the lower basis of systems based on the MOTIVATIONS of a edge of the universe and the GREATER UNIVERSE

b)developemental skills
developing methods and universes
c)developing use
d)developing functions
e)basics of increases by PLURAL defines the

GROWTH INTO 1000 plural references

SWIMMING WALKING and KNOWLEDGE between them as the the basic references towards GROWING in INCREASE of limitlessness of

higher dimensions

parameters as OUT THERE and recognitive by science of recognition in A.I

New Wave is a term applied to science fiction writing characterized by a high degree of experimentation, both in form and in content, a “literary” or artistic sensibility, and a focus on “soft” as opposed to hard science. The term “New Wave” is borrowed from the French film movement known as the nouvelle vague[1]. New Wave writers often saw themselves as part of the modernist tradition and sometimes mocked the traditions of pulp science fiction, which some of them regarded as stodgy, adolescent and poorly written. Gary K. Wolfe, professor of humanities and English at Roosevelt University, identifies the introduction of the term New Wave to SF [1] as occurring in 1966 in an essay[2] for the Magazine of Fantasy and Science Fiction written by Judith Merril who used the term to refer to the experimental fiction that had begun to appear in the English magazine New Worlds after Michael Moorcock assumed editorship in 1964, and that Merril later popularized in the United States through her edited anthology England Swings SF: Stories of Speculative Fiction (1968), although an earlier anthology (Harlan Ellison’s Dangerous Visions [1967]) paved the way for Merril’s anthology in the US.


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