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Lecture

ANT363 (Mar 6, 2013).docx

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Department
Anthropology
Course
ANT363H5
Professor
Todd Sanders
Semester
Winter

Description
Imagining - Yesterday’s science fiction becomes today’s science facts - Requires creativity an d imagination - What is possible and what can we possibly do - If it’s tricky to distinguish between science and science fiction, why is there such a popular separation and indicating the differences - Science meets a presumptuous opposite; one need to have the polar opposite to show that it’s untrue and unreal - Create a mess - What is the role of imagination in science and science fiction? How do we conceptualize both of them? What is the dichotomy...how is it that these things fail in distinguishing what it’s trying to explain? - What is the imagination? o What does it mean to imagine? o Easy to think of things that are imagined as not true and not real  Psychologists view o Social scientists don’t mean it like that in fantastical ways o Imagination is equally true because people do it because it’s pertaining to the thoughts of the world o Facet of the human imagination o Imagining is key to human created facilities o Speculation and thinking creatively o More mundane matters o Cultural and social imagination o Imagination is a creative process and involved human activity and it involves things that people do; active process and continually changing o Breaks down the boundary between beliefs and knowledge o What is culture? It’s high level of abstraction and we put it onto the world and we think that it’s true; we think that’s how people are like in the world and then create rules - Milburn: Modifiable Futures o Science fiction writers seen their genre as contributing to science o Presumes adventure stories promotes awareness o Their craft as scientific activity o Cultural production and conjured by genres of science fiction o Some scientists will argue that they are pure and not contaminated by science fiction o Some scientists will say they are influenced by science fiction o Milburn argues that in order to understand it, we should attend to scientific fan practices  What fans say and appropriate a genre  What people reconfigure, deploy and adopt an idea  Images, metaphors, are not lost but redirect them and rework them in ways that are meaningful and productive  Members of the world that we live in and we’re living in the world of science fiction? o Scientists transform science fiction into reality; remixes o Blueprint model: he sees direct effort of turning science fiction ideas into science  Requires subtle thinking  Abstracting a blueprint from a narrative and then inventing something that’s not exactly in the text  Abstraction and modification  This invention is inspired by the science fiction narrative o Supplementary model: remix that appears in laboratories as an approximation of technical impossibility  Invisibility cloak (impossible)  They know how to build one of sorts, but it’s not exactly like the ones in movies like Star Trek or Harry Potter o Speculative model: imagination is key; future speculations and things to pursue and the need for money to fund for more research  Not unlike science fiction; thinking about the future and how things will work out and fit in o This article: neither science and science fiction can be understood in isolation  People live in the world full of fantastical ideas and are influenced by it  Science fiction does not drive science nor does science drive science fiction  Mutual modification;  Relationship and role between the two are in existence  The best way to understand the relationship between the two is through fan practices; as a way forward - Battaglia: Raëlian clonehood o Critical cultural science of technical
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