This book considers the significance of this confluence through an examination of myths in the writings of H. G. Wells, Arthur C. Clarke, Philip K. Dick and Frank Herbert. Presenting fresh insights into their works, the author brings to light the tendency of science fiction narratives to reaffirm spiritual myths.

The Philosophy of Science Fiction: Henri Bergson and the Fabulations of Philip K. Dick explores the deep affinity between two seemingly quite different thinkers, in their attempts to address the need for salvation in (and from) an era of accelerated mechanization, in which humans' capacity for destroying or subjugating the living has attained a planetary scale. The philosopher and the science fiction writer come together to meet the contradictory imperatives of a realist outlook-a task which, (...) arguably, philosophy and science fiction could only ever adequately undertake in collaboration. Their respective approaches meet in a focus on the ambiguous status of fictionalizing, or fabulation, as simultaneously one of mechanization's most devastating tools, and the possibility of its undoing. When they are read together, the complexities and paradoxes thrown up by this ambiguity, with which both Bergson and Dick struggle on their own, open up new ways to navigate ideas of mechanism and mysticism, immanence and transcendence, and the possibility and meaning of salvation. The result is at once an original reading of both thinkers, a new critical theory of the socio–cultural, political and ethical function of fictionalizing, and a case study in the strange affinity, at times the uncanny similarity, between philosophy and science fiction. (shrink)

A timely volume that uses science fiction as a springboard to meaningful philosophical discussions, especially at points of contact between science fiction and new scientific developments. Raises questions and examines timely themes concerning the nature of the mind, time travel, artificial intelligence, neural enhancement, free will, the nature of persons, transhumanism, virtual reality, and neuroethics Draws on a broad range of books, films and television series, including _The Matrix, Star Trek, Blade Runner, Frankenstein, Brave New World, (...) The Time Machine,_ and _Back to the Future_ Considers the classic philosophical puzzles that appeal to the general reader, while also exploring new topics of interest to the more seasoned academic. (shrink)

In this paper, I consider the difficulty of distinguishing between science fiction and philosophy. The boundary between these genres is somewhat vague. There is a “neutral zone” separating the genres. But this neutral zone is often transgressed. One key distinction considered here is that between entertainment and edification. Another crucial element is found in the importance of the author’s apparent self-consciousness of these distinctions. Philosophy seeks to edify, and philosophers are often deliberately focused on thinking about (...) the question of the borders that distinguish genres. Science fiction is more interested in entertainment, and narrative authors tend to care less about policing the border. This distinction is a pragmatic one. And canonical authors often violate the boundary. I examine key authors to make this point, including Plato, Kant, and H.G. Wells. My discussion shows that these canonical authors wandered into the neutral zone in their own work, reminding us that the boundaries we draw around genres are arbitrary and subject to transgression. (shrink)

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre (...) names, the validity of attempts to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

This book explores contemporary existential science fiction media and their influence on society's conceptions of humanity. These media texts manifest abstract concepts in a genre that has historically focused on exploring new ideas and frontiers, creating powerful media that helps audiences contemplate their existence as human beings.

Using selections from writers like Margaret Atwood, Octavia Butler, Marion Zimmer Bradley, Karen Joy Fowler, Ursula K. Le Guin, James Tiptree jr., and many others, this collection shows how the imagined worlds of science fiction create hold experiments for testing feminist hypotheses and for interpreting philosophical questions about humanity, gender, equality and more. Four main themes: Part 1, 'Human nature and reality', concentrates on whether there is an intrinsic difference between males and females. Part 2, 'Dystopias: the worst (...) of all possible worlds', portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Part 3, 'Separatist utopias: worlds of difference', assembles stories that scrutinize both the virtues and vices of separatism. In Part 4, 'Androgynous utopias: worlds of equality', the authors create worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. (shrink)

Immortality is a subject which has long been explored and imagined by science fiction writers. In his intriguing new study, Stephen R.L.Clark argues that the genre of science fiction writing allows investigation of philosophical questions about immortality without the constraints of academic philosophy. He reveals how fantasy accounts of issues such as resurrection, disembodied survival, reincarnation and devices or drugs for preserving life can be used as an important resource for philosophical inquiry and examines how (...) a society of immortals might function through a reading of the vampire myth. _How to Live Forever_ is a compelling study which introduces students and professional philosophers to the possibilities of using science fiction in their work. It includes extensive suggestions for further reading, both fictional and philosophical, and examines the work of such major science fiction authors as _Arthur C. Clarke, Frank Herbert, Larry Niven, William Gibson_, and _Colin Wilson_. (shrink)

Over the last two decades, many philosophers have been increasingly inclined to consider science fiction films as philosophical exercises that center on the nature of human consciousness and existence. Albert Camus' philosophy of the absurd, however, has almost never been employed as a constructive perspective that can illumine unexplored aspects of these films. This is surprising, since science fiction films seem to be packed with visions and dialogues that echo the Sisyphean universe. Cosmos and Camus (...) endeavors to set foot on this uncharted terrain. Its first part aims to introduce the main components of Camus' absurdity in such a way that it can be easily applied to the analysis of the films later. Equipped with these Camusean essentials, it delves into an in-depth analysis of two first-encounter films (Contact and Arrival) and two AI films (A.I. and Her). These analyses yield more than an insightful reflection of the absurd contents in science-fiction film. Indeed, imaginative collisions with nonhumans seem to tell us a lot about the nature of the absurd in the human condition, as well as raising the question of whether absurdity is exclusively a human matter. Ultimately, the interpretation of the films illuminates the films themselves just as much as it illuminates, challenges, and expands Camus' concept of absurdity, thus contributing to our current understanding of what the absurd reality is and how we can either live with it or transcend it. (shrink)

This accessible and provocative collection of science fiction acquaints readers with cutting-edge gender controversies in moral and political philosophy. By imagining future worlds that defy our most basic assumptions about sex and gender, freedom and equality, and ethical values, the anthology’s authors not only challenge traditional standards of morality and justice, but create bold experiments for testing feminist hypotheses. Selections are grouped under four main themes. Part 1, "Human Nature and Reality," concentrates on whether there is an (...) intrinsic difference between males and females. Here the authors inspect opposing views on five related questions: What does it mean to be human? What are women and men really like? How significant is the reproductive difference? How do we define the concepts of "woman" and "nature"? Why is language important? Part 2, "Dystopias: The Worst of All Possible Worlds," first portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Chilling stories of future possibilities follow, including worlds where women and men separate into armies to fight a literal war of the sexes. Part 3, "Separatist Utopias: Worlds of Difference," assembles stories that scrutinize both the virtues and vices of separatism, in order to address the questions Why should women want to separate from men? and What would and should these all-female worlds be like? In Part 4, "Androgynous Utopias: Worlds of Equality," the authors create intriguing worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. With selections from such noted writers as Octavia Butler, Marion Zimmer Bradley, James Tiptree Jr., and many others, plus chapter introductions, discussion questions, and recommended reading list, this stimulating collection offers fresh insights on troubling issues by weaving controversial utopian and dystopian designs from the separate threads of opposing positions. (shrink)

_Philosophy Through Science Fiction_ offers a fun, challenging, and accessible way in to the issues of philosophy through the genre of science fiction. Tackling problems such as the possibility of time travel, or what makes someone the same person over time, the authors take a four-pronged approach to each issue, providing · a clear and concise introduction to each subject · a science fiction story that exemplifies a feature of the philosophical discussion · historical (...) and contemporary philosophical texts that investigate the issue with rigor, and · glossary, plot profiles of pertinent science fiction stories and films, and questions for further reflection. _Philosophy Through Science Fiction_ includes stories from contemporary science fiction writers including Greg Egan and Mike Resnick, as well as from classic authors like Philip K. Dick and Robert Heinlein. Philosophy readings include historical pieces by René Descartes and David Hume, and contemporary pieces by John Searle and Mary Midgley. (shrink)

Robert E. Myers has assembled a collection of essays which explore aspects of the relationship between science fiction and philosophy. Contributing authors focus on significant issues, questions, and ideas that penetrate to the center of our individual and social conceptions of human existence, and affect the ways in which we attempt to comprehend our world, ourselves, and others. The authors bring to this study the insights of diverse disciplines: philosophy, social science, poetry, linguistics, future studies, (...) medical humanities, and literature. Dealing exclusively with topics relating to science fiction and philosophy they offer an initial exploration of the philosophical problems within science fiction and their implications. (shrink)

Resumen El lamento por el fin de la utopía que expresa la novela futurista, Cría terminal (2014), expone la crisis de un ideal ético: la pérdida de la posibilidad de un mundo mejor. Las bases del contrato moral implícitas en la amenaza de su disolución en un futuro cercano serán el objeto de indagación de este trabajo, que toma a la filosofía de Hans Jonas como principal referencia teórica. Se buscará, por consiguiente, precisar la relación entre la barbarización de la (...) cultura (con sus comportamientos y personajes modélicos) y los procesos económico-políticos tendientes a la dominación biotecnológica del medio humano. La perspectiva modalizadora de la acción y la intriga narrativas y su adecuación a un interés de tipo ético por establecer un modelo de vida óptimo para la sociedad, defraudado por la civilización técnica del futuro, serán motivo de análisis. Abstract The lament for the end of utopia which expresses the futuristic novel, Cría Terminal (2014), exposes the crisis of an ethical ideal: the loss of the possibility of a better world. The bases of the moral contract implicit in the threat of its dissolution in the near future will be the object of investigation of this work, which considers the philosophy of Hans Jonas as the main theoretical reference. Therefore, it will be sought to specify the relationship between the barbarization of culture (with its exemplary behaviors and characters) and the economic-political processes tending to the biotechnological domination of the human environment. The modalizing perspective of the narrative action and intrigue and its adaptation to an ethical interest in establishing an optimal life model for society, disappointed by the technical civilization of the future, will be the subject of analysis. (shrink)

Some experimental philosophers imply that philosophers should endorse folk intuitions and even use them to advance philosophical theses. In this paper I will try to contrast experimental appeals to intuition with J. L. Austin’s, whom some experimentalists cite as a precursor of their method. I will suggest that Austin evokes ordinary intuitions in order to dismantle philosophical quests. He even suggests (a) that the appeal to ordinary intuitions of the folk can hardly prescribe answers to extraordinary circumstances and (b) that (...) philosophical quests themselves are extraordinary. Therefore, the appeal to folk intuitions cannot prescribe answers to philosophical problems. It can only dissolve philosophical quests; yet, the dismantling of philosophy hardly accords with the experimentalists’ agenda. (shrink)

The Abolition of Man, C. S. Lewis's masterpiece in ethics and the philosophy of science,warns of the danger of combining modern moral skepticism with the technological pursuit of human desires. The end result is the final destruction of human nature. From Brave New World to Star Trek, from Steampunk to starships, science fiction film has considered from nearly every conceivable angle the same nexus of morality, technology, and humanity of which C. S. Lewis wrote. As a (...) result,science fiction film has unintentionally given us stunning depictions of Lewis's terrifying vision of the future. In Science Fiction and the Abolition of Man: Finding C. S. Lewis in Sci-Fi Film and Television, scholars of religion, philosophy, literature, and film explore the connections between sci-fi film and the three parts of Lewis's book:how sci-fi portrays "Men Without Chests" incapable of responding properly to moral good, how it teaches the Tao or "The Way," and how it portrays "The Abolition of Man.". (shrink)

In this highly original book, Russell Blackford discusses the intersection of science fiction and humanity’s moral imagination. With the rise of science and technology in the 19th century, and our continually improving understanding of the cosmos, writers and thinkers soon began to imagine futures greatly different from the present. Science fiction was born out of the realization that future technoscientific advances could dramatically change the world. Along with the developments described in modern science (...) class='Hi'>fiction - space societies, conscious machines, and upgraded human bodies, to name but a few - come a new set of ethical challenges and new forms of ethics. Blackford identifies these issues and their reflection in science fiction. His fascinating book will appeal to anyone with an interest in philosophy or science fiction, or in how they interact. (shrink)

The ethics of human enhancement has been a hotly debated topic in the last 15 years. In this debate, some advocate examining science fiction stories to elucidate the ethical issues regarding the current phenomenon of human enhancement. Stories from science fiction seem well suited to analyze biomedical advances, providing some possible case studies. Of particular interest is the work of screenwriter Andrew Niccol (Gattaca, S1m0ne, In Time, and Good Kill), which often focuses on ethical questions raised (...) by the use of new technologies. Examining the movie In Time (2011), the aim of this paper is to show how science fiction can contribute to the ethical debate of human enhancement. In Time provides an interesting case study to explore what could be some of the consequences of radical life-extension technologies. In this paper, we will show how arguments regarding radical life-extension portrayed in this particular movie differ from what is found in the scientific literature. We will see how In Time gives flesh to arguments defending or rejecting radical life-extension. It articulates feelings of unease, alienation and boredom associated with this possibility. Finally, this article will conclude that science fiction movies in general, and In Time in particular, are a valuable resource for a broad and comprehensive debate about our coming future. (shrink)

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and (...) class='Hi'>science fiction. Taken together, a philosophy of science fiction horror emerges. Central to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

Four instances of how science fiction contributes to the elucidation of novelty in the context of discovery are considered by extending existing discussions on temporal and use-novelty. In the first instance, science fiction takes an already well-known theory and produces its own re-interpretation; in the second instance, the scientific account is usually straightforward and whatever novelty that may occur would be more along the lines of how the science is deployed to extra-scientific matters; in the (...) third instance, science fiction takes an idea that appears impossible within the delimitations of reality and produces a universe where such a possibility becomes feasible; and in the fourth instance, science fiction extends from an idea already known at the time of the work’s production to simulate a possibility that could emerge should the extension be experimentally viable. However, the article will not end with a mere evaluation of these instances, but also proposes instances on how science fiction could contribute to new ways of experiencing, discerning, and working with scientific knowledge. (shrink)

In response to calls for a research and innovation system that is more open to public scrutiny, we have seen a growth of formal and informal public engagement activities in the past decades. Nevertheless, critiques of several persistent routines in public engagement continue to resurface, in particular the focus on expert knowledge, cognitive exchange, risk discourse, and understandings of public opinion as being static. In an attempt to break out of these routines, we experimented with an innovative engagement format that (...) employs situated speculative prototyping to support citizens in contextualizing and discussing developments regarding—in this case—nanotechnology. This format invites participants to imagine and critically reflect on technological futures through collaborative prototyping and story-writing. In this paper, we outline five reconstructed contextualization patterns in which participants engaged during the format’s exercises and use these to assess the value of the format in the current engagement landscape. We show that situated speculative prototyping has potential in the realm of informal public engagement initiatives, taking an explorative approach, but also warn of ‘the designer fallacy’ as a prominent pitfall of prototyping that could reproduce techno-scientific framings and obstruct critical reflection on technological directions and implications if not treated with caution. (shrink)

This paper argues that narrative elements from the science fiction (SF) literary genre are used in the discourse of Nanoscience and Technology (NST) to bridge the gap between what is technically possible today and its inflated promises for the future. The argument is illustrated through a detailed discussion of two NST texts. The paper concludes by arguing that the use of SF narrative techniques poses serious problems to the development of a critical analysis of the ethical and social (...) implications of NST. (shrink)

The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality (...) from Aliens, Personal Identity from Total Recall, The Mind-Body dilemma from Terminator, Free Will from Minority Report, Death and the Meaning of Life from Blade Runner, and much more. A search for knowledge about ourselves and the world around us with a star-studded cast that includes: Tom Cruise, Plato, Harrison Ford, Immanuel Kant, Arnold Schwarzenegger, Friedrich Nietzsche, Sigourney Weaver, René Descartes, and Keanu Reeves. Rowlands anchors his discussions in easily understood everyday terms and relates them in a manner easy to identify with. Interspersed with a ready joke or two, he wonderfully explains why those SciFi movies we love so much are much deeper than they appear to be on the surface. Mark Rowlands's entertaining and stimulating guide is perfect for anyone searching for knowledge of the world around us. If Keanu can understand Descartes surely everyone can. (shrink)

While admiring the breadth and interest of Clark's discussion of a persistent theme in science fiction, I worry about its capacity to reveal fundamental features of the genre. I also try to make explicit some of Clark's unstated assumptions.

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the (...) human self and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

Advancements in science and technology have not only brought hope to humankind to produce disease-free offspring, but also offer possibilities to genetically enhance the next generation’s traits and capacities. Human genetic enhancement, however, raises complex ethical questions, such as to what extent should it be allowed? It has been a great challenge for humankind to develop robust ethical guidelines for human genetic enhancement that address both public concerns and needs. We believe that research about public concerns is necessary prior (...) to developing such guidelines, yet the issues have not been thoroughly investigated in many countries, including Malaysia. Since the novel often functions as a medium for the public to express their concerns, this paper explores ethical concerns about human genetic enhancement expressed in four Malay science fiction novels namely Klon, Leksikon Ledang, Transgenesis Bisikan Rimba and Transgenik Sifar. Religion has a strong influence on the worldview of the Malays therefore some concerns such as playing God are obviously religious. Association of the negative image of scientists as well as the private research companies with the research on human genetic enhancement reflects the authors’ concerns about the main motivations for conducting such research and the extent to which such research will benefit society. (shrink)

The phenomenon of religious belief has been much discussed in philosophy of religion. However, a priori argumentation alone cannot establish what religious belief is like as a psychological attitude. Recent advances in the cognitive science of religion have paved the way for a new, naturalized philosophy of religion. Taking into account the relevant results and hypotheses presented within these disciplines, it is possible to develop a more empirically informed philosophy of religious belief. Instead of asking whether (...) believing is rational, it is here asked how religious belief is cognitively possible. Combining Boyer's evolutionary account of religion with Sperber's and Cosmides and Tooby's theory of metarepresentation, we get the sort of conceptual toolkit needed to specify those cognitive mechanisms and operations that make religious belief possible. Religious belief is shown to require a unique combination of these mechanisms and operations. (shrink)

What is the source of the hardness of the logical must? What does the necessity of mathematical and logical inference consist in? If I am plotting the curve y = x2 and assume that x = 2 I must conclude that y = 4; no other consequence can be drawn. What is the nature of this ‘must'?Understanding Wittgenstein's answer to this question is essential to understanding his later philosophy. The question of the nature of logical or mathematical necessity is (...) as fundamental for the Investigations as it obviously was for the Tractatus. Barry Stroud's article “Wittgenstein and Logical Necessity” certainly is still one of the most illuminating and important of the papers dealing with this question. (shrink)

Raquel Cascales and Luis Echarte focus on the development of practical wisdom and what they call ‘seeing with the heart’ for science students by means of reading science fiction literature. They argue that literature can bring the student into contact with the reality of moral life as moral dilemmas are made concrete by the characters and circumstances in a novel. They provide an analysis of how Aldous Huxley’s Brave New World can be read in the classroom and (...) show how the novel invites students to think about the role of science in society, the evolutionary paradigm, advances in genetic and psychological manipulation, as well as questions concerning human emotions,suffering, and friendship. (shrink)

The Legacies of Ursula K. Le Guin explores how Le Guins fiction and essays have built a speculative ethical practice engaging indigenous knowledge and feminism, while crafting utopias in which human and other-than-human life forms enter into new relations. Her work also delineates new ways of making sense of the "science" of science fiction. The authors of this collection provide up-to-date discussions of well-known works as well as more experimental writings. Written in an accessible style, Legacies (...) will appeal to any readers interested in literature, science fiction and fantasy, as well as specialists of science and technology studies, philosophy of science, ethics, gender studies, indigenous studies and posthumanism."--Publisher's description. (shrink)

In this paper, I explore the fruitful relationship between science fiction and philosophy regarding the topic of artificial intelligence. I establish a connection between certain paradigms in the philosophy of mind and consciousness and the imagination of possible future scenarios in sci-fi, especially focusing on the different ways of conceiving the role of corporeality in constituting consciousness and cognition. Then, I establish a parallelism between these different conceptions of corporeality in the philosophy of mind and (...) certain representations of AI in sci-fi: from computers to robots and androids. I conclude by stressing the value of exchanging ideas between sci-fi and philosophy to foreshadow and evaluate some scenarios of high ethical relevance. (shrink)

The aim of this paper is to show that scientific thought experiments and works of science fiction are highly suitable tools for facilitating and increasing understanding of science. After comparing one of Einstein’s most famous thought experiments with the science fiction novel “The Forever War”, I shall argue that both proceed similarly in making some of the more outlandish consequences of special relativity theory intelligible. However, as I will also point out, understanding in thought experiments (...) and understanding in science fiction differ in one important respect: While the former aim at what I shall call “physical understanding”, science fiction novels typically have “existential understanding” as their target. (shrink)