The article explores the construction of boundaries, alterity and otherness in modern science-fiction films. Boundaries, understood as real state borders, territoriality and sovereignty, as well as the construction of the other beyond an imagined border and delimited space, have a significant meaning in the dystopian settings of SF. Even though SF topics are not bound to the contemporary environment, be it of a historical, technical or ethical nature, they do relate to the present-day world and transcend our well-known problems. Therefore, (...) SF offers a pronounced discourse about current social challenges under extreme conditions such as future technological leaps, encounters with the alien other or the end of the world. At the same time the genre enables us to play through future challenges that might really happen. Films like Equilibrium, Code 46, Children of Men and District 9 show that in freely constructed cinematic settings we are not only unable to escape from our border conflicts, but quite the contrary, we take them everywhere with us, even to an alternative present or into the future, where new precarious situations of otherness are constructed. (shrink)

Science-fiction (SF) has become a reference point in the discourse on the ethics and risks surrounding artificial intelligence (AI). Thus, AI in SF—science-fictional AI—is considered part of a larger corpus of ‘AI narratives’ that are analysed as shaping the fears and hopes of the technology. SF, however, is not a foresight or technology assessment, but tells dramas for a human audience. To make the drama work, AI is often portrayed as human-like or autonomous, regardless of the actual technological limitations. Taking (...) science-fictional AI too literally, and even applying it to science communication, paints a distorted image of the technology's current potential and distracts from the real-world implications and risks of AI. These risks are not about humanoid robots or conscious machines, but about the scoring, nudging, discrimination, exploitation, and surveillance of humans by AI technologies through governments and corporations. AI in SF, on the other hand, is a trope as part of a genre-specific mega-text that is better understood as a dramatic means and metaphor to reflect on the human condition and socio-political issues beyond technology. (shrink)

In the ideology of capitalism, problems of standard of living and consumption are treated in isolation from the content of social relationships. An example of this is provided by the works of Galbraith, who speaks of the "affluent society," defined by the level and volume of consumption, as a higher level of social development. His interpretation - and it is shared by many bourgeois ideologists - does not deal with the question of on what the achievement of an abundance of (...) various goods and services, and hence abundance in consumption, is based. Left out of consideration is the fact that it is because of particular historical conditions that the capitalist states of our day have at their disposal a developed base in technology, while such a base is lacking over most of the globe, inasmuch as its creation is an as-yet uncompleted task in the so-called developing countries. If we were to judge the essence of social development without considering the concrete class structure of society and the vagaries of historical development, without analyzing the existing base in technology and science, etc., we would be unable to go beyond the bounds of very vague abstractions. (shrink)