scholarly journals Selves and Spaces in Science Fiction

2021 ◽  
Author(s):  
◽  
Brett Innes Davidson
Keyword(s):  
Science Fiction ◽  
Scientific Practice ◽  
Modern Science ◽  
Cultural Construction ◽  
First Case ◽  
Starting Point ◽  
Science And Culture ◽  
Body Boundary ◽  
The Universe ◽  
Over Time

<p>This thesis proposes a critical framework by which science fiction can be read as an indicator of significant trends and debates in science and culture. It takes as its starting point Brian Aldiss's statement that science fiction's purpose is to articulate in fictional form a definition of humanity and its status in the universe that will stand in the light of science. Science fiction exists as a means by which scientific concepts are constructed as cultural interpretations, and as both have changed significantly over the period from the emergence of the genre in the mid nineteenth century through the twentieth century, analysis of science-fictional forms and practices can reveal the processes of their evolution. A critical framework is constructed based on Aldiss' definition, identifying first, a construction of selfhood and spatiality - physical and metaphysical - as being fundamental, and secondly, identifying the emergence and evolution of major 'Orders' that take different approaches to key issues and which engage with each other both antagonistically and creatively. The thesis begins with an investigation of the cultural construction of space and then covers the emergence of science fiction as it relates to the project to define humanity and its standing in the universe in a manner consistent with science. Three Orders and their emergence are then described according to their architectonic schemae and their epistemological and creative processes. The first is the Modernist Order, based on Cartesian spatiality and mind-body dualism and empirical scientific practice. The second, which emerged as an attempt to synthesise modern science with traditional culture, is the Neohumanist Order. The third, still very much in flux, is the Posthumanist Order, which is very much inspired both by postmodernism and cybernetics. The three following chapters deal with the Orders in turn, selecting exemplary texts from their emergent and developed (or developing) stages, suggesting also the points in the development of each where another Order has disengaged and emerged in its own right. Because science and culture evolve over time, examination of the Orders is intrinsically linked to a concept of science fiction as being an ongoing discourse, each selected text is interpreted as being a response to a particular issue at a particular cultural moment, but nonetheless connected to predecessor and successor texts that represent a line of argument pursued over time within and between Orders. The Orders are not hermetic by any means, and their most enlightening aspects can be their varying treatment of a common concept. The cyborg furnishes an excellent example, being treated differently by each of the Orders as it is an image of the integration of humanity and technology. Issues such as self, body, boundary, location, the other and communication are all represented in the cyborg and the next two chapters discuss the cyborg as treated by different Orders, in the first case, as a body and in the second case, as an inhabitant and creation of architectonics and culture. The conclusion then discusses the current state of affairs regarding the system of Orders as a critical method. It is shown that 'impure' texts that contain aspects of each of the Orders do not negate their usefulness, but rather demonstrate it as texts (and postmodern texts in particular) provide stages on which the Orders can be displayed engaging with each other.</p>

scholarly journals Selves and Spaces in Science Fiction

2021 ◽  
Author(s):  
◽  
Brett Davidson
Keyword(s):  
Science Fiction ◽  
Scientific Practice ◽  
Modern Science ◽  
Cultural Construction ◽  
First Case ◽  
Starting Point ◽  
Science And Culture ◽  
Body Boundary ◽  
The Universe ◽  
Over Time

<p>This thesis proposes a critical framework by which science fiction can be read as an indicator of significant trends and debates in science and culture. It takes as its starting point Brian Aldiss's statement that science fiction's purpose is to articulate in fictional form a definition of humanity and its status in the universe that will stand in the light of science. Science fiction exists as a means by which scientific concepts are constructed as cultural interpretations, and as both have changed significantly over the period from the emergence of the genre in the mid nineteenth century through the twentieth century, analysis of science-fictional forms and practices can reveal the processes of their evolution. A critical framework is constructed based on Aldiss' definition, identifying first, a construction of selfhood and spatiality - physical and metaphysical - as being fundamental, and secondly, identifying the emergence and evolution of major 'Orders' that take different approaches to key issues and which engage with each other both antagonistically and creatively. The thesis begins with an investigation of the cultural construction of space and then covers the emergence of science fiction as it relates to the project to define humanity and its standing in the universe in a manner consistent with science. Three Orders and their emergence are then described according to their architectonic schemae and their epistemological and creative processes. The first is the Modernist Order, based on Cartesian spatiality and mind-body dualism and empirical scientific practice. The second, which emerged as an attempt to synthesise modern science with traditional culture, is the Neohumanist Order. The third, still very much in flux, is the Posthumanist Order, which is very much inspired both by postmodernism and cybernetics. The three following chapters deal with the Orders in turn, selecting exemplary texts from their emergent and developed (or developing) stages, suggesting also the points in the development of each where another Order has disengaged and emerged in its own right. Because science and culture evolve over time, examination of the Orders is intrinsically linked to a concept of science fiction as being an ongoing discourse, each selected text is interpreted as being a response to a particular issue at a particular cultural moment, but nonetheless connected to predecessor and successor texts that represent a line of argument pursued over time within and between Orders. The Orders are not hermetic by any means, and their most enlightening aspects can be their varying treatment of a common concept. The cyborg furnishes an excellent example, being treated differently by each of the Orders as it is an image of the integration of humanity and technology. Issues such as self, body, boundary, location, the other and communication are all represented in the cyborg and the next two chapters discuss the cyborg as treated by different Orders, in the first case, as a body and in the second case, as an inhabitant and creation of architectonics and culture. The conclusion then discusses the current state of affairs regarding the system of Orders as a critical method. It is shown that 'impure' texts that contain aspects of each of the Orders do not negate their usefulness, but rather demonstrate it as texts (and postmodern texts in particular) provide stages on which the Orders can be displayed engaging with each other.</p>

scholarly journals Selves and Spaces in Science Fiction

2021 ◽  
Author(s):  
◽  
Brett Innes Davidson
Keyword(s):  
Science Fiction ◽  
Scientific Practice ◽  
Modern Science ◽  
Cultural Construction ◽  
First Case ◽  
Starting Point ◽  
Science And Culture ◽  
Body Boundary ◽  
The Universe ◽  
Over Time

<p>This thesis proposes a critical framework by which science fiction can be read as an indicator of significant trends and debates in science and culture. It takes as its starting point Brian Aldiss's statement that science fiction's purpose is to articulate in fictional form a definition of humanity and its status in the universe that will stand in the light of science. Science fiction exists as a means by which scientific concepts are constructed as cultural interpretations, and as both have changed significantly over the period from the emergence of the genre in the mid nineteenth century through the twentieth century, analysis of science-fictional forms and practices can reveal the processes of their evolution. A critical framework is constructed based on Aldiss' definition, identifying first, a construction of selfhood and spatiality - physical and metaphysical - as being fundamental, and secondly, identifying the emergence and evolution of major 'Orders' that take different approaches to key issues and which engage with each other both antagonistically and creatively. The thesis begins with an investigation of the cultural construction of space and then covers the emergence of science fiction as it relates to the project to define humanity and its standing in the universe in a manner consistent with science. Three Orders and their emergence are then described according to their architectonic schemae and their epistemological and creative processes. The first is the Modernist Order, based on Cartesian spatiality and mind-body dualism and empirical scientific practice. The second, which emerged as an attempt to synthesise modern science with traditional culture, is the Neohumanist Order. The third, still very much in flux, is the Posthumanist Order, which is very much inspired both by postmodernism and cybernetics. The three following chapters deal with the Orders in turn, selecting exemplary texts from their emergent and developed (or developing) stages, suggesting also the points in the development of each where another Order has disengaged and emerged in its own right. Because science and culture evolve over time, examination of the Orders is intrinsically linked to a concept of science fiction as being an ongoing discourse, each selected text is interpreted as being a response to a particular issue at a particular cultural moment, but nonetheless connected to predecessor and successor texts that represent a line of argument pursued over time within and between Orders. The Orders are not hermetic by any means, and their most enlightening aspects can be their varying treatment of a common concept. The cyborg furnishes an excellent example, being treated differently by each of the Orders as it is an image of the integration of humanity and technology. Issues such as self, body, boundary, location, the other and communication are all represented in the cyborg and the next two chapters discuss the cyborg as treated by different Orders, in the first case, as a body and in the second case, as an inhabitant and creation of architectonics and culture. The conclusion then discusses the current state of affairs regarding the system of Orders as a critical method. It is shown that 'impure' texts that contain aspects of each of the Orders do not negate their usefulness, but rather demonstrate it as texts (and postmodern texts in particular) provide stages on which the Orders can be displayed engaging with each other.</p>

scholarly journals Selves and Spaces in Science Fiction

2021 ◽  
Author(s):  
◽  
Brett Davidson
Keyword(s):  
Science Fiction ◽  
Scientific Practice ◽  
Modern Science ◽  
Cultural Construction ◽  
First Case ◽  
Starting Point ◽  
Science And Culture ◽  
Body Boundary ◽  
The Universe ◽  
Over Time

<p>This thesis proposes a critical framework by which science fiction can be read as an indicator of significant trends and debates in science and culture. It takes as its starting point Brian Aldiss's statement that science fiction's purpose is to articulate in fictional form a definition of humanity and its status in the universe that will stand in the light of science. Science fiction exists as a means by which scientific concepts are constructed as cultural interpretations, and as both have changed significantly over the period from the emergence of the genre in the mid nineteenth century through the twentieth century, analysis of science-fictional forms and practices can reveal the processes of their evolution. A critical framework is constructed based on Aldiss' definition, identifying first, a construction of selfhood and spatiality - physical and metaphysical - as being fundamental, and secondly, identifying the emergence and evolution of major 'Orders' that take different approaches to key issues and which engage with each other both antagonistically and creatively. The thesis begins with an investigation of the cultural construction of space and then covers the emergence of science fiction as it relates to the project to define humanity and its standing in the universe in a manner consistent with science. Three Orders and their emergence are then described according to their architectonic schemae and their epistemological and creative processes. The first is the Modernist Order, based on Cartesian spatiality and mind-body dualism and empirical scientific practice. The second, which emerged as an attempt to synthesise modern science with traditional culture, is the Neohumanist Order. The third, still very much in flux, is the Posthumanist Order, which is very much inspired both by postmodernism and cybernetics. The three following chapters deal with the Orders in turn, selecting exemplary texts from their emergent and developed (or developing) stages, suggesting also the points in the development of each where another Order has disengaged and emerged in its own right. Because science and culture evolve over time, examination of the Orders is intrinsically linked to a concept of science fiction as being an ongoing discourse, each selected text is interpreted as being a response to a particular issue at a particular cultural moment, but nonetheless connected to predecessor and successor texts that represent a line of argument pursued over time within and between Orders. The Orders are not hermetic by any means, and their most enlightening aspects can be their varying treatment of a common concept. The cyborg furnishes an excellent example, being treated differently by each of the Orders as it is an image of the integration of humanity and technology. Issues such as self, body, boundary, location, the other and communication are all represented in the cyborg and the next two chapters discuss the cyborg as treated by different Orders, in the first case, as a body and in the second case, as an inhabitant and creation of architectonics and culture. The conclusion then discusses the current state of affairs regarding the system of Orders as a critical method. It is shown that 'impure' texts that contain aspects of each of the Orders do not negate their usefulness, but rather demonstrate it as texts (and postmodern texts in particular) provide stages on which the Orders can be displayed engaging with each other.</p>

scholarly journals Problem of quasi-boundaries in the Universe and its projection upon life

2020 ◽  
pp. 1-13
Author(s):  
Oleg Vladimirovich Shimelfenig
Keyword(s):  
Personal Growth ◽  
Innovation Management ◽  
Personal Responsibility ◽  
Modern Science ◽  
Individual Perceptions ◽  
Science And Culture ◽  
Latent Process ◽  
The Subject ◽  
Life Education ◽  
The Universe

Modern science and culture reappraises the objectivistic-materialistic paradigm towards considering human and psychological factors in the worldview, which also leads to problematization of the concept of boundaries of the objects and phenomena in the Universe. Methodological tool for this research became the narrative-play paradigm based on the universal categories of plot, scenario, likeness, two-dimensionality and game, which generalizes the systemic approach, liberating it from a dangerous tendency towards objectivism and one-sided materialism; reveals the latent process of formation of shared life through interaction of individual perceptions, sensations, thoughts and actions. Leaning on the narrative-play methodology and polemics with the opponents, the author examines the concept of quasi-boundary (as there could be no absolute boundaries in the totally interconnected Universe), which determines the forms of material structures, as well as contradictory boundaries that appear to be the subject of various conflicts. Such approach expands the creative abilities of a person, contributing to the development of activity programs in various spheres of life: education, resolution of ethno-confessional issues, innovation management, personal growth, as well as solution of the crucial task that defines the fate of earth dwellers &ndash; upbringing each person in harmony of the spiritual and material, in understanding oneness of the Universe, their place within it, and personal responsibility for the shared present and future.

Draugos ar zinātni: zinātniskie aspekti Jāņa Veseļa daiļradē

2021 ◽  
pp. 77-84
Author(s):  
Edgars Lāms
Keyword(s):  
World War I ◽  
Science Fiction ◽  
Modern Science ◽  
Active Imagination ◽  
Main Character ◽  
Writing Style ◽  
World War ◽  
Artistic Style ◽  
Natural Processes ◽  
The Universe

Writer Jānis Veselis is a classic of the Latvian literature, one of the most peculiar prose writers from the 1920s to 1940s. Initially, the artistic style of Veselis was heavily influenced by World War I poetics of collision and expressionism, later by the ideas about neopagan movements. The writer has an active imagination. His writing style is characterised by fabulous neo-mythical tendencies. Despite that, Veselis was friends with science. Many of his texts are filled with delight about the achievements of modern science. He is taken away by the explosive growth of the exact sciences, especially astronomy. In the centre of many of Veselis’s works (“Sun’s Cemetery” (Saules kapsēta, 1921); “People of Fields” (Tīrumu ļaudis, 1927); literary cycle “Soul of Steel” (Tērauda dvēsele, 1934–1946)), there is a representative of engineer’s profession. Scientific aspects in the most concise way are integrated into the literary cycle of novels called “Soul of Steel” (“Human Uprising” (Cilvēku sacelšanās, 1934); “Soul of Steel” (Tērauda dvēsele, 1938); “Big March” (Lielais gājiens, 1946)). The novels are interspersed with science-fiction motifs. The first two novels of the cycle revolve around an engineer-constructor named Rudājs. He postulates ideas about man’s ability to control natural processes, and he also dreams about expanding into the universe. The novels “Human Uprising” and “Soul of Steel” are saturated with reflections about different modern science problems. For example, about obtaining energy from splitting atoms, endless lengths of space, and the universe’s eventual border. Scientific concepts and terminology from physics, chemistry, and astronomy are all common in the novels. At the end of the cycle’s second novel, the main character goes into the vast universe in his self-constructed rocket. The trilogy shows the writer’s power of insight and his rich imagination. In the context of the time, that is considered a rather innovative occurrence in Latvian novel. The dissonant mixture of scientific and mythological elements is regarded as a misleading element.

Nauki prawne – między konstruktywizmem a konstrukcjonizmem

2021 ◽  
Vol 3(164) ◽  
pp. 63-86
Author(s):  
Piotr Przybytek ◽  
Paweł Przybytek
Keyword(s):  
Scientific Practice ◽  
Modern Science ◽  
Starting Point ◽  
Distinguishing Features

The metaphor of constructing, popular in modern science, has gained a distinction into two main streams: constructivism and constructionism. In our article, we try to answer the question of which features of one of these two construction theories are more compatible with the distinguishing features of legal sciences and what this might mean in contemporary scientific practice. We treat our proposals as a starting point for further discussions on this topic.

The Science Fiction

2017 ◽  
Author(s):  
Edward James
Keyword(s):  
Short Stories ◽  
Science Fiction ◽  
Central Character ◽  
Fiction Writers ◽  
Almost All ◽  
The Universe ◽  
Over Time

This chapter discusses the science fiction of Lois McMaster Bujold. Bujold has written about fourteen science fiction books and a number of short stories: approximately six thousand pages of text. Almost all of her science fiction stories have been set in the universe sometimes known by her fans as the Vorkosiverse after its central character, Miles Vorkosigan. Although her writing as a whole has expanded beyond that universe, her science-fictional universe has remained unusually restricted. One explanation for her decision to restrict herself in this way is that Bujold is interested above all in character. While some science fiction writers are interested in developing different “what-if” scenarios and focusing on how that “what-if” changes a society, Bujold has shown herself to be concerned primarily in how her characters and the society they live in develop over time. She has built up a large and devoted fan base not because they want to see her develop numerous new universes and explore all the boundaries of her genre, but because they share the author's own fascination with her characters and want to see how they change and grow.

scholarly journals The GCDM Model

2022 ◽  
Author(s):  
Martin Reid Johnson
Keyword(s):  
Molecular Weight ◽  
Dark Energy ◽  
High Energy ◽  
Zero Order ◽  
Gas Pressure ◽  
Energy Term ◽  
Starting Point ◽  
Λcdm Model ◽  
The Universe ◽  
Over Time

Abstract A model for the reduction in Universal density over time, the “GCDM” model, is derived using gas thermodynamics with z = 1089 as the starting point. In the GCDM model, the Universe is pushing itself apart with internal gas pressure. A simple three-term Hubble expression HG is derived and found to be independent, or zero-order, in temperature and molecular weight of the gas. Isoentropic expansion of the gas at any z yields an entropic energy term which is modified to include energetic electrons, derived in turn from high-energy photons. These electrons are proposed as the source of the “dark energy” term found in the ΛCDM model.

"Marketocentric" Economics Is Obsolete

2004 ◽  
pp. 36-49 ◽  
Author(s):  
A. Buzgalin ◽  
A. Kolganov
Keyword(s):  
Economic Theory ◽  
Middle Ages ◽  
Modern Science ◽  
Economic Systems ◽  
Main Mode ◽  
Post Market ◽  
Market Relations ◽  
Post Industrial ◽  
The 19Th Century ◽  
The Universe

The "marketocentric" economic theory is now dominating in modern science (similar to Ptolemeus geocentric model of the Universe in the Middle Ages). But market economy is only one of different types of economic systems which became the main mode of resources allocation and motivation only in the end of the 19th century. Authors point to the necessity of the analysis of both pre-market and post-market relations. Transition towards the post-industrial neoeconomy requires "Copernical revolution" in economic theory, rejection of marketocentric orientation, which has become now not only less fruitful, but also dogmatically dangerous, leading to the conservation and reproduction of "market fundamentalism".

Argument from Chance

2015 ◽  
Vol 7 (1) ◽  
pp. 199-207 ◽  
Author(s):  
Dariusz Łukasiewicz
Keyword(s):  
Evidential Argument ◽  
Theistic Argument ◽  
Starting Point ◽  
Argument From Evil ◽  
The Universe ◽  
Small Probabilities

In the article, first I present the atheistic argument from pointless evil and the argument from chance. The essence of the argument from chance consists in the incompatibility of the existence of purposeless events and the existence of a God who planned the universe to the last detail. Second, I would like to show that there is a relation between the evidential argument from evil and the argument from chance. An analysis of the theistic argument from small probabilities is a helpful starting point for the presentation of how the two arguments are related.

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