利用者:Chitosemidori/sandbox/5

サステナブル建築であるアースシップはソーラーパンクにインスピレーションを与えている。

ソーラーパンク（英: solarpunk）は、自然と共同体が調和して暮らす持続可能な未来を実現することを目指した文学的・芸術的な運動である。「ソーラー」は再生可能エネルギー源としてのソーラーエネルギーや、ドゥーマーを否定する楽観的な未来のビジョンを指し、「パンク」はそのような未来を創造するカウンターカルチャー的、ポスト資本主義的、脱植民地主義的な側面を指している。

サイエンス・フィクションのジャンルにおいて、ソーラーパンク作品は持続可能性、環境に及ぼす人類の影響、気候変動や環境汚染への対処などといった現代の主要な課題を人類が解決することに成功した未来の姿を取り上げている。サイバーパンクの派生ジャンルとも関連しており、ユートピアの要素が含まれる場合がある。

Solarpunk serves as a foil to the cyberpunk genre, particularly within the fashion industry. Both genres create and consolidate post-industrial countercultures; Solarpunk incites rebellion through its depiction of protoenvironmental socioecological relationships, whereas Cyberpunk advances the theme of rebellion through detached secondary environments, which often takes place in tangible dataspheres, virtual landscapes, and dystopian urban environments. Solarpunk draws inspiration from Bohemian style. The convergence of environmentalism and art serve as a framework for both subgenres. Solarpunk's interpretation of social collectivism strongly contrasts the individuality of Bohemian counterculture; Solarpunk recognizes individuality as an integral component of progressivism and identifies sociocultural distinctions as an impetus for change, though solarpunk encompasses these elements within the greater socioecological scaffolding in a manner that contrasts the Bohemian assertion that individuality alone acts as the sole impetus for change.

背景

「ソーラーパンク」という用語が初めて登場したのは、2008年に匿名の人物によって投稿された、持続可能な技術に焦点を当てたフィクションのジャンルを提唱するブログ記事である。この記事では、ソーラーパンクに分類される文学作品としてノーマン・スピンラッドの『星々からの歌』が挙げられた。2014年にアーティストのオリヴィア・ルイーズがソーラーパンクの概念をTumblrに投稿し、これをきっかけにこの概念が広まった。研究者のアダム・フリンはSFフォーラムのプロジェクト・ヒエログリフの一環として、この運動を「若者が慎重かつ楽観的に捉えることができるもの」として紹介した。2019年、フリンの考えなどをもとに公開された「ソーラーパンク・マニフェスト」では、ソーラーパンクは「『持続可能な文明とはどのようなものか、そしてどうすればそれを達成できるのか』という問いに答え、具現化しようとするスペキュレイティブ・フィクション、芸術、ファッション、そしてアクティビズムの運動である」と定義された。2024年、ソーラーパンクは The Encyclopedia of Science Fiction に掲載された。この中でジェームズ・マッシェルはソーラーパンクとサイバーパンクを対比して、「ディストピアへの疲れから生まれた、反乱に対する反乱である」と述べている。

テーマと哲学

再生可能エネルギー

ソーラーパンクは、再生可能エネルギーへ完全に移行するにあたって必然的に生じる文化的な変化に焦点を当てていることが特徴である。

It practices prefigurative politics, creating spaces where the principles of a movement can be explored and demonstrated by enacting them in real life. Solarpunks practice the movement in various ways, including creating and living in communities (such as ecovillages), growing their own food, and a DIY ethic of working with what is available, including the thoughtful application of technology.

悲観主義の拒否

Solarpunk works often include visions of positive social change, like the above illustration of a respecialization center for former miners who lost their profession as the world abandoned fossil fuels.

ソーラーパンクに共通する特徴として、古くて荒廃した病的な産業時代から新しい持続可能な時代への移行というものがある。その他のテーマとして、資本主義の搾取や政治における不正に直面して、自然環境を保護・回復するための戦いがある。

ソーラーパンクはアフロフューチャリズム、レトロフューチャリズム、そして様々なユートピア主義の影響を強く受けている。

These failures may include oppressive imbalances of wealth or power, degradation of natural habitat or processes, and impacts of climate change. Evidence of injustices, like social exclusion and environmental racism, may be present. Disastrous consequences are not necessarily averted but solarpunk tends to present a counter-dystopian perspective. Their worlds are not necessarily utopian but rather solarpunk seeks to present an alternative to a pessimistic, consequential dystopian outcome. To achieve this, themes of do it yourself ethics, convivial conservation, self-sustainability, social inclusiveness and positive psychology are often present. This perspective also more closely embeds the ideals of punk ideologies, such as anti-consumerism, egalitarianism and decentralization, than cyberpunk which typically includes protagonists with punk beliefs but in settings that are used more as a warning of a potential future.

持続可能な技術

The integration of technologies into society in a manner that improves social, economic and environmental sustainability is central to solarpunk. It is starkly contrasted to cyberpunk which portrays highly advanced technologies that have little influence on, or otherwise exacerbate social, economic, and environmental problems. Whereas cyberpunk envisions humanity becoming more alienated from its natural environment and subsumed by technology, solarpunk envisions settings where technology enables humanity to better co-exist with itself and its environment.

Solarpunk is more similar to steampunk than cyberpunk. Both steampunk and solarpunk imagine new worlds but with different primary sources of energy; respectively, the steam engines, and renewable energy. Though, whereas steampunk focuses more on history and uses Victorian era aesthetics, solarpunk uses more Art Nouveau style and looks to the future. Solarpunk also shares some elements with retrofuturism, Afrofuturism, Bionics and Arts and Crafts. The retrofuturist reevaluation of technology, its desire for understandable mechanics, and rejection of mysterious black box technology, and in favor of appropriate technology, are found in solarpunk works. As is the Afrofuturist's counter to mass-cultural homogeneity, the reckoning of injustices, and use of architecture and technology to correct power imbalances and problems in accessibility.

DIYの精神

Although solarpunk is concerned with technology, it also embraces low-tech ways of living sustainably such as gardening, permaculture, regenerative design, tool libraries, maker spaces, open-source, positive psychology, metacognition, and do-it-yourself ethics. Its themes may reflect on environmental philosophy such as bright green environmentalism and social ecology, as well as punk ideologies such as anarchism, socialism, anti-consumerism, anti-authoritarianism, anti-capitalism, civil rights, commoning, and decentralization.

芸術運動と美学

A proposed flag of the solarpunk movement.Template:According to whom

As an art movement, solarpunk emerged in the 2010s as a reaction to the prevalence of bleak post-apocalyptic and dystopian media alongside an increased awareness of social injustices, impacts of climate change, and inextricable economic inequality. As post-apocalyptic and dystopian was ubiquitous in media, solarpunk became an attractive alternative. Solarpunk is optimistic yet realistic in confronting contemporary problems.

An image of a former oil platform at sea, repurposed as a greenhouse and powered by wind turbines.

The solarpunk visual identity, as expressed by Olivia Louise and subsequent artists, is compared to Art Nouveau with its depictions of plants, use of sinuous lines like whiplash, and integration of applied arts into fine arts. The ornamental Arts and Crafts movement, an influence on Art Nouveau, is present and its built forms reflect Frank Lloyd Wright's organic architecture. The solarpunk aesthetic typically utilizes natural colors, bright greens and blues, and allusions to diverse cultural origins. Examples of this aesthetic include Boeri Studio's Bosco Verticale in Milan, the depiction of Wakanda in Marvel Studios' Black Panther and Auroa in Tom Clancy's Ghost Recon Breakpoint, Cities: Skylines's Green Cities expansion, and some Studio Ghibli movies, particularly Castle in the Sky and Nausicaä of the Valley of the Wind. Contrasted to cyberpunk which is portrayed as having a dark, grim aesthetic surrounded by an artificial and domineering built environment which is reflective of alienation and subjugation, solarpunk is bright, with light often used as a motif and in imagery to convey feelings of cleanliness, abundance and equability but, also, alternatively could be used to symbolize something that "subsumes everything beneath it, [an] emblem of tyranny [and] surveillance".

フィクション

小説

An aerial view of a futuristic, sustainable Berlin—with lots of solar power, trees and greenery, airships, walkable streets, clean water. By Aerroscape & Lino Zeddies.

In literature, solarpunk is a subgenre within science fiction, though it may also include elements of other types of speculative fiction such as fantasy and utopian fiction. It is a cyberpunk derivative, contrasted to cyberpunk for its particular extrapolation of technology's impact on society and progress. Cyberpunk characters are typically those marginalized by rapid technological change or subsumed by technology, while the solarpunk archetype has been described as a "maker-hero" who has witnessed environmental disaster or failures by central authorities to adapt to crises or injustice, often in defense of nature and in ways that allow the story to illustrate optimistic outcomes. Its fictions illustrate feasible worlds that do not ignore the mechanics or ingredients of how it was arrived at.

Previously published novels that fit into this new genre included Ursula K. Le Guin's Always Coming Home (1985) and The Dispossessed (1974), Ernest Callenbach's Ecotopia (1975), Kim Stanley Robinson's Pacific Edge (1990), and Starhawk's The Fifth Sacred Thing (1993), largely for their depictions of contemporary worlds transitioning to more sustainable societies. However, the first explicit entries published into the genre were the short stories in anthologies Solarpunk: Ecological and Fantastic Stories in a Sustainable World (2012) (which was the third part of the publisher's trilogy of short story collections preceded by Vaporpunk and Dieselpunk), Wings of Renewal: A Solarpunk Dragons Anthology (2015), Sunvault: Stories of Solarpunk and Eco-Speculation (2017) and Glass and Gardens (2018). In 2018, author Becky Chambers agreed to write two solarpunk novellas for Tor Books and published A Psalm for the Wild-Built (2021) and A Prayer for the Crown-Shy (2022).

In a 2019 Slate article, author Lee Konstantinou stated that solarpunk authors "...proclaim their commitment to "ingenuity, generativity, independence, and community", while going against the "nihilistic tendencies of cyberpunk and the reactionary tendencies of steampunk." He argues that solarpunk is aspirational, as it aims to provide "suggestions for the kind of science fiction or fantasy we ought to be writing". Solarpunk can include elements of mundane science fiction. In a Solarpunk Futures interview with Nina Munteanu about her solarpunk novel A Diary in the Age of Water, Munteanu said she incorporated elements of mundane science fiction to add "the gritty realism of the mundane" to the story.

映画

As in written fiction, solarpunk themes in film predate the recognition of solarpunk as a genre and the aesthetics and themes of the genre are increasingly present in contemporary works. Many of the works of Hayao Miyazaki are recognized in hindsight as examples of early solarpunk cinema. Additionally, the intersection of ecological stewardship and science fiction have also appeared in numerous western animated films such as Treasure Planet (2002), WALL-E (2008), and Strange World (2022).

Examples of live action solarpunk cinema include James Cameron's Avatar films and Benh Zeitlin's Beasts of the Southern Wild (2012).

In a study of the forty-four most popular American science fiction films, nature was found to be ignored in visions of the future, depicted in cities with monoculture lawns and ornamental gardens. Nature is never portrayed in these films in an innovative or integrated way with future human civilization. At best, nature is simply portrayed as a background motif. The study suggested for artists to "collaborate to imagine how to integrate nature and biodiversity into the depictions of future cities".

TRPG

Alongside literature and visual art, solarpunk explorations within tabletop games have become increasingly visible.

Numenera is post-apocalyptic, but does include punk elements by having authoritarian medieval European-style governments and a reliance on sustainable technology.

Solarpunk 2050 Is a Solarpunk setting for Fate (role-playing game system) published in 2023. Set in the near future, society is being rebuilt after a climate catastrophe. Three factions struggle to agree on the right way to do this.

Fully Automated! is an open-source tabletop RPG set in the 22nd century in a post-scarcity post-capitalist society.

建築

ボスコ・ヴェルティカーレ

ソーラーパンクはサステナブル建築によって定義されることが多く、ソーラーパンク建築運動はコンセプトアートにおいて確立している。ソーラーパンク風の建築物の例として、外観が植物で覆われた高層マンションのボスコ・ヴェルティカーレがある。

ソーラーパンク都市の特徴として垂直の森林、屋上庭園、バイオドーム、風力タービンなどがある。

批評

Some, like solarpunk researcher Adam Flynn, worry that solarpunk can risk being greenwashed through aesthetics that give the appearance of sustainability without addressing the root causes of actual environmental issues. Flynn notes how depictions such as "luxury condos with a green roof that price out existing communities and might end up doing more environmental damage" is "fake solarpunk urbanism".

関連文献

• Förtsch, Michael (2019年6月13日). “Fridays for Future treffen Science Fiction: Was ist eigentlich Solarpunk?” (ドイツ語). 1E9. 2019年9月22日時点のオリジナルよりアーカイブ。2021年7月4日閲覧。
• Marshall, Alan (2019). "Using beloved works of literature to predict the futures of cities", The Conversation, March 15, 2019.
• Williams, Rhys (March 10, 2018). “Solarpunk: Against a Shitty Future”. Los Angeles Review of Books. https://lareviewofbooks.org/article/solarpunk-against-a-shitty-future/. 
• Reina-Rozo, Juan David (2021). “Art, Energy and Technology: the Solarpunk Movement”. International Journal of Engineering, Social Justice, and Peace 8 (1): 47–60. doi:10.24908/ijesjp.v8i1.14292. 
• Lynall, Gregory (2022). “Solarpunk”. The Cambridge Companion to Literature and Climate. Cambridge University Press. pp. 191–200. ISBN 978-1-316-51216-6. https://www.cambridge.org/core/books/abs/cambridge-companion-to-literature-and-climate/solarpunk/5C176333194647E6F82EE1C7E5B3EFC6 
• Crosby, Phillip M. (2023). “Towards an Anti-Antiutopia”. The ARCC Journal of Architectural Research 20 (2): 46–75. doi:10.17831/enqarcc.v20i2.1159. 

関連項目

• 無政府原始主義
• 大地へ帰れ運動
• 気候変動フィクション
• コテージコア
• 反成長
• エコクリティシズム
• エコフィクション
• 環境アート
• 環境正義
• グリーンアナキズム
• ホープパンク
• オープンソース・エコロジー
• 再野生化
• テクノガイアニズム

外部リンク

• Almanac for the Anthropocene: A Compendium of Solarpunk Futures
• Solarpunk: A Reference Guide
• Solarpunks.net