Amy Butt
Biographic Data
| ID | 3867154 |
|---|---|
| NAME | Amy Butt |
| GIVEN NAMES | Amy |
| FAMILY NAME | Butt |
| SIGNATURE | BUTT A |
| AFFILIATIONS | University of Reading |
| ORCID | 0000-0002-1762-2768 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Made up Ground: Architecture, Science Fiction, and the Surface of Imagined Worlds
Science fiction allows us to establish intimate connections with the surfaces of other worlds, and to focus on the image of architecture within these fictions denies much of their complexity. In response, this article focuses on the embodied experience of touch, drawing on the imagined experiences of other worlds to explore the everyday meetings between the body and the built, the points at which we touch the ground. It follows characters from Jo…
It was quiet: The Radical Architectures of Understatement in Feminist Science Fiction
Poisonless:a bare city, bright, the colours light and hard, the air pure. It was quiet.' The Dispossessed, Ursula K. Le Guin (1974) This is how Ursula K. Le Guin describes the city of Abbenay in The Dispossessed. It is modest and unassuming. It is quiet. This architectural restraint is jarringly at odds with predominant portrayals of the science fiction city. As noted by Graham (2016) and Hurley (2008) the future city has become synonymous with r…
The Present as Past: Science Fiction and the Museum
This article explores the role that science fiction (sf) texts might play in the museum, offering a perspective on acts of collection, curation, exhibition, and museum architecture, to ask what the museums of science fiction futures can offer those of us concerned with the role and responsibility of the museum in the present.It draws together methods, content and reflections from a workshop held at the Horniman Museum with art and curation studen…
As plain as spilt salt: The city as social structure in The Dispossessed
Set against the soaring skyscrapers of much canonical urban science fiction (sf), the single storey structures of Abbenay in Ursula Le Guin’s The Dispossessed might be easily overlooked. But, as this paper argues, the sparse description of this city ‘as plain as spilt salt’ offers a rich and complex vision of architectural possibility. This paper dwells within this moment of description, drawing on personal association alongside architectural and…
City Limits: Boundary Conditions and the Building-Cities of Science Fiction
Can the rigidly bound city-buildings of science fiction (SF) provide a critical space to resist a movement towards structural divisions within the urban realm? Drawing on the growing body of urban studies research that utilizes the radical imagination and cognitive estrangement of SF as tools for critiquing the modern city, this paper focuses on three SF texts which explicitly address the architectural and social implications of extreme urban enc…
Between the image and the building: An architectural tour of High‐Rise
It was quiet: The Radical Architectures of Understatement in Feminist Science Fiction
Poisonless:a bare city, bright, the colours light and hard, the air pure. It was quiet.' The Dispossessed, Ursula K. Le Guin (1974) This is how Ursula K. Le Guin describes the city of Abbenay in The Dispossessed. It is modest and unassuming. It is quiet. This architectural restraint is jarringly at odds with predominant portrayals of the science fiction city. As noted by Graham (2016) and Hurley (2008) the future city has become synonymous with r…
As plain as spilt salt: The city as social structure in The Dispossessed
Set against the soaring skyscrapers of much canonical urban science fiction (sf), the single storey structures of Abbenay in Ursula Le Guin’s The Dispossessed might be easily overlooked. But, as this paper argues, the sparse description of this city ‘as plain as spilt salt’ offers a rich and complex vision of architectural possibility. This paper dwells within this moment of description, drawing on personal association alongside architectural and…
City Limits: Boundary Conditions and the Building-Cities of Science Fiction
Can the rigidly bound city-buildings of science fiction (SF) provide a critical space to resist a movement towards structural divisions within the urban realm? Drawing on the growing body of urban studies research that utilizes the radical imagination and cognitive estrangement of SF as tools for critiquing the modern city, this paper focuses on three SF texts which explicitly address the architectural and social implications of extreme urban enc…
Between the image and the building: An architectural tour of High‐Rise
City Limits: Boundary Conditions and the Building-Cities of Science Fiction
Can the rigidly bound city-buildings of science fiction (SF) provide a critical space to resist a movement towards structural divisions within the urban realm? Drawing on the growing body of urban studies research that utilizes the radical imagination and cognitive estrangement of SF as tools for critiquing the modern city, this paper focuses on three SF texts which explicitly address the architectural and social implications of extreme urban enc…
The Present as Past: Science Fiction and the Museum
This article explores the role that science fiction (sf) texts might play in the museum, offering a perspective on acts of collection, curation, exhibition, and museum architecture, to ask what the museums of science fiction futures can offer those of us concerned with the role and responsibility of the museum in the present.It draws together methods, content and reflections from a workshop held at the Horniman Museum with art and curation studen…
As plain as spilt salt: The city as social structure in The Dispossessed
Set against the soaring skyscrapers of much canonical urban science fiction (sf), the single storey structures of Abbenay in Ursula Le Guin’s The Dispossessed might be easily overlooked. But, as this paper argues, the sparse description of this city ‘as plain as spilt salt’ offers a rich and complex vision of architectural possibility. This paper dwells within this moment of description, drawing on personal association alongside architectural and…
It was quiet: The Radical Architectures of Understatement in Feminist Science Fiction
Poisonless:a bare city, bright, the colours light and hard, the air pure. It was quiet.' The Dispossessed, Ursula K. Le Guin (1974) This is how Ursula K. Le Guin describes the city of Abbenay in The Dispossessed. It is modest and unassuming. It is quiet. This architectural restraint is jarringly at odds with predominant portrayals of the science fiction city. As noted by Graham (2016) and Hurley (2008) the future city has become synonymous with r…
Made up Ground: Architecture, Science Fiction, and the Surface of Imagined Worlds
Science fiction allows us to establish intimate connections with the surfaces of other worlds, and to focus on the image of architecture within these fictions denies much of their complexity. In response, this article focuses on the embodied experience of touch, drawing on the imagined experiences of other worlds to explore the everyday meetings between the body and the built, the points at which we touch the ground. It follows characters from Jo…
Art (6 works) · Art history (5 works) · Sociology (5 works) · Aesthetics (4 works) · Utopian, Dystopian, and Speculative Fiction (4 works) · Visual arts (4 works) · History (3 works) · Architectural engineering (2 works) · Computer Science (2 works) · Engineering (2 works)