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This paper (in Finnish) concerns the ontological status of categories of entities. I argue that categories are not be considered as further entities. Rather, it is suffcient for entities belonging to the same category that they are in exactly the same formal ontological relations and have the same general category features. |
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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 (...) |
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The British writer John Wyndham (1903–1969) explored societal effects of surprising or mystical events. A paradigmatic example is _The Midwich Cuckoos_ (1957), which portrays identical-looking children born without sexual intercourse. I propose a reading strategy that focuses on the fictional spatial order and analyses how the construction of the children’s otherness interferes with the village’s demarcation. Furthermore, I interpret the mysterious pregnancies as a reference to basic embryo research in the 1950s – cloning. Finally, I scrutinize Wyndham’s negotiation of utilitarianism (...) |
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Our fascination with artificial intelligence (AI), robots and sentient machines has a long history, and references to such humanoids are present even in ancient myths and folklore. The advancements in digital and computational technology have turned this fascination into apprehension, with the machines often being depicted as a binary to the human. However, the recent domains of academic enquiry such as transhumanism and posthumanism have produced many a literature in the genre of science fiction (SF) that endeavours to alter this (...) |
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Canadian video game developer BioWare’s critically acclaimed Mass Effect video game series has been called the most important science fiction universe of a generation. Whether or not one is inclined to agree, it cannot be denied that Mass Effect matters. It matters not only because of its brilliant narrative and the difficult questions it asks, but also because, as bioethicist Kyle Munkittrick writes, it reflects society as a whole. Mass Effect is a sci-fi epic in the truest sense, spanning over (...) |
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ZusammenfassungIm Spielfilm Never Let Me Go werden Klone als vulnerable und heteronome Individuen dargestellt, die zur anonymen Organspende gezwungen werden. In diesem Beitrag wird die Darstellung dieser Figuren in ihrer individuellen Entwicklung und gesellschaftlichen Sozialisation unter der Frage untersucht, welche Bezüge sich zu bioethischen Aspekten ergeben. Die Klone befinden sich in einer Situation der „privilegierten Deprivation“: Aus Sicht der Zuschauer sind sie sozial benachteiligt und können sich nicht zu komplett autonomen Wesen entwickeln, aber aus ihrer eigenen Perspektive sind sie im (...) |
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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 (...) |
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In the film Never Let Me Go, clones are forced to donate their organs anonymously. As a work of fiction, this film can be regarded as a negotiation of limited agency, since the clones are depicted as vulnerable individuals. Thereby, it evokes a confrontation with underprivileged positions in technocratic societies, encouraging the audience to take the perspective of the marginalised. The clones are situated in ‘privileged deprivation’; from the audience’s point of view, they are unable to evolve into autonomous agents—but (...) |
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ZusammenfassungIm Spielfilm Never Let Me Go werden Klone als vulnerable und heteronome Individuen dargestellt, die zur anonymen Organspende gezwungen werden. In diesem Beitrag wird die Darstellung dieser Figuren in ihrer individuellen Entwicklung und gesellschaftlichen Sozialisation unter der Frage untersucht, welche Bezüge sich zu bioethischen Aspekten ergeben. Die Klone befinden sich in einer Situation der „privilegierten Deprivation“: Aus Sicht der Zuschauer sind sie sozial benachteiligt und können sich nicht zu komplett autonomen Wesen entwickeln, aber aus ihrer eigenen Perspektive sind sie im (...) |
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