Darwin to the double helix: astrobiology in fiction

2007 ◽  
Vol 6 (4) ◽  
pp. 273-280 ◽  
Author(s):  
Mark Brake ◽  
Neil Hook
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Double Helix ◽  
Critical Discourse ◽  
Emergent Features ◽  
The Fantastic ◽  
Communication Of Science ◽  
Fred Hoyle ◽  
The Universe

AbstractFrom Darwin to the double helix, the last 150 years have seen revolutionary changes in our understanding of life in the Universe. In this time, works of science fiction have provided a valuable, and often overlooked, reflection of the assumptions and attitudes held by society to such changes. This paper will consider key works of film and fiction as a commentary on emergent features of astrobiology, including the work of Fred Hoyle, Olaf Stapledon's Last and First Men (1930) and Star Maker (1937), and Arthur C. Clarke and Stanley Kubrick's cinematic classic, 2001: A Space Odyssey (1968). These popular culture texts represent a useful and inspiring communication of science. Their critical discourse is the reducible gap between the new worlds uncovered by science and the fantastic strange worlds of the imagination. As such, they exemplify a way in which the culture and science of popular astrobiology can be fused.

scholarly journals The Gospel According to Disney+’s “The Mandalorian”

Religions ◽  
2021 ◽  
Vol 12 (5) ◽  
pp. 350
Author(s):  
Ruben van Wingerden
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
New Testament ◽  
Popular Science ◽  
Religious Language ◽  
Way Of Life ◽  
Star Wars ◽  
The New Testament ◽  
The Universe ◽  
Modern Myth

The Mandalorian is a very popular science-fiction show (two seasons, 2019–2020) set in the famous Star Wars Universe. Studies have shown that myth and religious thought played a crucial role in the creation of the Star Wars Universe. This article continues that tradition, albeit from a particular perspective that highlights religious language: by viewing The Mandalorian through a New Testament lens, it is argued that while many elements of popular culture reference Biblical or mythological sources, The Mandalorian’s use of these referents illustrates the way in which ancient religious and New Testament literature are still very much a shared phenomenon. Both The Mandalorian and the New Testament share certain timeless topoi: a mysterious character with extraordinary abilities, a connection to life-giving powers of the universe that give extraordinary abilities, choosing a certain way of life and the costs thereof, and also themes such as “debt”, “redemption”, and “beliefs” and how these are challenged. By using these themes, The Mandalorian presents itself as a modern myth.

The Cosmic Mystery Tour

2019 ◽  
Author(s):  
Nicholas Mee
Keyword(s):  
Science Fiction ◽  
Particle Physics ◽  
Cultural Context ◽  
Big Bang ◽  
Galactic Centre ◽  
Red Giants ◽  
Extraterrestrial Life ◽  
Modern Physics ◽  
Recent Developments ◽  
The Universe

The Cosmic Mystery Tour is a brief account of modern physics and astronomy presented in a broad historical and cultural context. The book is attractively illustrated and aimed at the general reader. Part I explores the laws of physics including general relativity, the structure of matter, quantum mechanics and the Standard Model of particle physics. It discusses recent discoveries such as gravitational waves and the project to construct LISA, a space-based gravitational wave detector, as well as unresolved issues such as the nature of dark matter. Part II begins by considering cosmology, the study of the universe as a whole and how we arrived at the theory of the Big Bang and the expanding universe. It looks at the remarkable objects within the universe such as red giants, white dwarfs, neutron stars and black holes, and considers the expected discoveries from new telescopes such as the Extremely Large Telescope in Chile, and the Event Horizon Telescope, currently aiming to image the supermassive black hole at the galactic centre. Part III considers the possibility of finding extraterrestrial life, from the speculations of science fiction authors to the ongoing search for alien civilizations known as SETI. Recent developments are discussed: space probes to the satellites of Jupiter and Saturn; the discovery of planets in other star systems; the citizen science project SETI@Home; Breakthrough Starshot, the project to develop technologies to send spacecraft to the stars. It also discusses the Fermi paradox which argues that we might actually be alone in the cosmos

Naming the Big Bang

2012 ◽  
Vol 44 (1) ◽  
pp. 3-36 ◽  
Author(s):  
Helge Kragh
Keyword(s):  
Scientific Community ◽  
Big Bang ◽  
Consensus Model ◽  
Initial State ◽  
The Standard Model ◽  
Modern Cosmology ◽  
Fred Hoyle ◽  
The Big Bang ◽  
The Universe ◽  
Origin Of The Universe

The standard model of modern cosmology is known as the hot big bang, a name that refers to the initial state of the universe some fourteen billion years ago. The name Big Bang introduced by Fred Hoyle in 1949 is one of the most successful scientific neologisms ever. How did the name originate and how was it received by physicists and astronomers in the period leading up to the hot big bang consensus model in the late 1960s? How did it reflect the meanings of the origin of the universe, a concept that predates the name by nearly two decades? Contrary to what is often assumed, the name was not an instant success—it took more than twenty years before Big Bang became a household word in the scientific community. When it happened, it was used with different connotations, as is still the case. Moreover, it was used earlier and more frequently in popular than in scientific contexts, and not always relating to cosmology. It turns out that Hoyle’s celebrated name has a richer and more surprising history than commonly assumed and also that the literature on modern cosmology and its history includes many common mistakes and errors. An etymological approach centering on the name Big Bang provides supplementary insight to the historical understanding of the emergence of modern cosmology.

scholarly journals Science stories as culture: experience, identity, narrative and emotion in public communication of science

2019 ◽  
Vol 18 (05) ◽  
pp. A01 ◽  
Author(s):  
Sarah Rachael Davies ◽  
Megan Halpern ◽  
Maja Horst ◽  
David Kirby ◽  
Bruce Lewenstein
Keyword(s):  
Popular Culture ◽  
Science Communication ◽  
Meaning Making ◽  
Cultural Theory ◽  
Identity Work ◽  
Public Communication ◽  
Key Frame ◽  
Cultural Approach ◽  
Science Stories ◽  
Communication Of Science

The last three decades have seen extensive reflection concerning how science communication should be modelled and understood. In this essay we propose the value of a cultural approach to science communication — one that frames it primarily as a process of meaning-making. We outline the conceptual basis for this view of culture, drawing on cultural theory to suggest that it is valuable to see science communication as one aspect of (popular) culture, as storytelling or narrative, as ritual, and as collective meaning-making. We then explore four possible ways that a cultural approach might proceed: by mobilising ideas about experience; by framing science communication through identity work; by focusing on fiction; and by paying attention to emotion. We therefore present a view of science communication as always entangled within, and itself shaping, cultural stories and meanings. We close by suggesting that one benefit of this approach is to move beyond debates concerning ‘deficit or dialogue’ as the key frame for public communication of science.

scholarly journals Repackaging Popular Culture: Commentary and Critique in Community

2012 ◽  
Vol 5 (2) ◽  
Author(s):  
Tully Barnett ◽  
Ben Kooyman
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Everyday Life ◽  
Pop Culture ◽  
Big Bang ◽  
Fan Culture ◽  
High Stakes ◽  
History Of ◽  
Nerd Culture ◽  
The Big Bang

Contemporaneous with the collision of Science Fiction/Fantasy with the mainstream evident in the success of nerd culture show The Big Bang Theory (2007- ), Joss Whedon’s The Avengers (2012), the growth of Comic Con audiences and so on, Dan Harmon developed Community (2009- ), a sitcom depicting a study group at a second-rate community college. The show exemplifies a recent gravitation away from the multi-camera, laugh-track driven sitcom formula, alternating between “straight” episodes dealing with traditional sitcom premises, though always inflected with self-aware acumen, and more ambitious, unconventional episodes featuring outlandish premises, often infused with the trappings of genre and geek fandom. The show presents apocalyptic action- and Western-style paintball wars, epidemics that evoke zombie cinema, a Yahtzee game that spirals into alternate timelines, and a high-stakes Dungeons and Dragons game that blurs the boundaries between reality and fantasy.  Both the straight and the unconventional episodes ultimately serve the same purpose, examining the intersection between nerd culture and everyday life. This essay discusses a number of episodes which exemplify Community’s intersections between everyday life and popular culture, charting the show’s evolving preoccupation with pop culture and intertwining of reality and fantasy. It discusses Community’s self-referentiality as a sitcom, its ambitious and elaborate recreations of and homages to pop culture artefacts, and its explicit gravitation towards Science Fiction and Telefantasy in its third season. Through its various homages to popular culture and ongoing depiction of fan culture, we posit that the show is both a work of fandom and a work about fandom, advocating for the pivotal role of fandom in everyday life and for popular culture as a tool for interpreting, comprehending and navigating life. In this respect, the show contributes to the long history of both the sitcom and Telefantasy as vehicles for cultural commentary.

Excavating the Future

2018 ◽  
Author(s):  
Shawn Malley
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Cultural Study ◽  
Homeland Security ◽  
War On Terror ◽  
Adaptive Responses ◽  
Film And Television ◽  
The Past ◽  
The Future ◽  
The U.S

Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future treats archaeology as a trope for exploring the popular archaeological imagination and the uses to which it is being put by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to contemporary geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.

The Future of Epic in Cinema

2018 ◽  
pp. 119-132
Author(s):  
Pantelis Michelakis
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Biological Evolution ◽  
First Century ◽  
Genre Criticism ◽  
Early Twenty ◽  
The Future ◽  
Twenty First Century

This chapter explores the ways in which the generic label of ‘epic’ might be deemed relevant for Ridley Scott’s film Prometheus (2012), and more broadly for the ways in which a discussion about the meanings of epic in early twenty-first-century cinema might be undertaken outside the genre of ‘historical epic’. It argues for the need to explore how ‘epic science fiction’ operates in Scott’s Prometheus in ways that both relate and transcend common definitions of the term ‘epic’ in contemporary popular culture. It also focuses on the unorthodox models of biological evolution of the film’s narrative, suggesting ways in which they can help with genre criticism. When it comes to cinematic intertextuality, a discussion about generic taxonomies and transformations cannot be conducted at the beginning of the twenty-first century without reflecting on the tropes that cinema animates and the fears it enacts at the heart of our genetic imaginary.

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