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In real life, the people you meet almost never say what you want or expect them to.From long and bruising contact, you carry simulations of your acquaintances around in your head.If no node is available for a given strand-loop, you go back and write a node in (cf. As long as you labor under the feeling that you are the only weirdo, then you feel weak and apologetic.
Transrealism tries to treat not only immediate reality, but also the higher reality in which life is embedded. What makes standard genre fiction so insipid is that the characters are so obviously puppets of the author’s will.
Actions become predictable, and in dialogue it is difficult to tell which character is supposed to be talking.
The familiar tools of SF—time travel, antigravity, alternate worlds, telepathy, etc.—are in fact symbolic of archetypal modes of perception.
Time travel is memory, flight is enlightenment, alternate worlds symbolize the great variety of individual world-views, and telepathy stands for the ability to communicate fully. The “realism” aspect has to do with the fact that a valid work of art should deal with the world the way it actually is.
There will always be a place for the escape-literature of genre SF.
But there is no reason to let this severely limited and reactionary mode condition all our writing. Proximately, “cyberpunk” is a word coined by Gardner Dozois to describe the fiction of William Gibson.
Transrealism is not so much a type of SF as it is a type of avant-garde literature.
I feel that Transrealism is the only valid approach to literature at this point in history.
These simulations are imposed on you from without; they do not react to imagined situations as you might desire.
By letting these simulations run your characters, you can avoid turning out mechanical wish-fulfillments.