By Jeffrey Tucker, PhD “Speculative Visions” is a title rich with denotative and connotative meanings covering the scope of this issue of (In)Visible Culture and of Cultural Studies more generally.  It is a formulation that parallels “speculative fiction,” an umbrella term for writing that addresses any of a number of topics–augmentations of the human body, journeys through space and time, the wonder and warnings attached to technological developments, utopias and dystopias, alien encounters, and more; it also covers a range of genres–e.g. science fiction, fantasy, and horror–belonging to what the late Tzvetan Todorov called The Fantastic.1 It is in this latter sense particularly that such coverage is warranted; look closely at the content, production, or reception of “genre” literature or film and you will see boundaries a-blurring.  Horror film director John Carpenter’s The Thing (1982) is based on the novella “Who Goes There?” (1938) by legendary science fiction editor and writer John W. Campbell, Jr.  Pulp science fiction pioneer Hugo Gernsback was an influence on DC Comics impresario Julius Schwartz.  And it is not unusual for …