Popular culture can play a significant role in shaping the acceptance of evolving technologies, with nanotechnology likely to be a case in point. The most popular fiction work to date in this arena has been Michael Crichton's techno-thriller Prey, which fuses together nanotechnology science with science fiction. Within the context of Prey, this article examines the role that scientists and popular culture play in educating society, and one another, about emerging technologies. In di ferentiating fact from fiction, the article reflects (...) on how such distinctions may be important in proactive public dialogue projects. The article concludes that popular culture will be a key factor in informing citizen beliefs about the coming nano-age. Accordingly, governments, in conjunction with the scientific community, will need to be proactive in distinguishing science fact from science fiction for the benefit of their citizens. (shrink)

Despite the occasional upsurge of climate change scepticism amongst conservative politicians and journalists, there is a near-consensus amongst scientists that current levels of atmospheric greenhouse gas are sufficient to alter global weather patterns to possibly disastrous effect. Like the hole in the ozone layer as described by Bruno Latour, global warming is a ‘hybrid’ natural-social-discursive phenomenon. And science fiction seems to occupy a critical location within this nature/culture nexus. This paper takes as its subject matter what Daniel Bloom dubs ‘cli-fi’. (...) It seeks to describe how a genre defined in relation to science finds itself obliged to produce fictional responses to problems actually thrown up by contemporary scientific research. It argues against the view that ‘catastrophic’ SF is best understood as a variant of the kind of ‘apocalyptic’ fiction inspired by the Christian Book of Revelation, or Apokalypsis, on the grounds that this tends to downplay the historical novelty of SF as a genre defined primarily in relation to modern science and technology. And it examines the narrative strategies pursued in both print and audio-visual SF texts that deal with anthropogenic climate change. (shrink)

Science fiction is often used as a tool with which to think about actual science. While often this is depicted in terms of imaginary future potential, science fiction has also shown itself to be a poignant critique of existing science and a means of exploring our collective anxieties regarding the continued logic of current scientific development. This article explores the science fiction of organ transplantation, as mapped against scientific and medicolegal developments in actual organ transplantation. Explored through the lens of (...) Adorno’s work on cultural criticism, it is argued that science fiction serves as a tool with which we address (and critique) the ethical boundaries (and fears, often colonial in nature) of actual organ transplantation. Science fiction works such as Larry Niven’s Known Space Universe and Repo! The Genetic Opera are examined, demonstrating that in critiquing the science of organ transplantation, fictionists ultimately come to examine changing cultural understandings of selfhood and embodiment. (shrink)

We argue for a discursive ethic of surveillancethat accounts for the paradoxes that thephenomenon presents to today's organisationalmembers. We first we develop a genealogy ofprivacy and illustrate its relation tosurveillance, focusing on the antinomianrelationship between the public and private. Then we review the common ethicaltensions that arise in today's technologicallyintensive workplace. Lastly, we develop acritical approach to the ethical status ofprivacy and surveillance – a micro-ethics – that remains open todiscursively-based negotiation by those whofind themselves at the verypoint of scrutiny.