Dissertations / Theses on the topic 'Science fiction. rep'

This thesis sets out to examine the relationship between science fiction and its conditions of production, specifically interrogating the genre's articulations of the ideology of modernity as progress. Sf has been characterized variously as a characteristically useful critical engagement with the ideologies of its context and as wholly ideological at the level of form, relying on the authority of a scientific episteme in its "cognitive estrangements," while not obligated to operate within the boundaries of this episteme. As such, the genre is unparalleled in its capacity to articulate ideologies under the guise of a putatively neutral science and reason. However, this same formal action places the genre in the unique position of being able to utilize the authority of a scientific episteme to re-evaluate the putative neutrality of that very scientific episteme. As a result, this study concludes that while the genre's reliance on the external authority of science in "cognitively" organizing its estrangements may make it particularly conducive to articulating ideological technoscience and the ideology of modernity as progress, the genre is characteristically ambivalent in this respect, both at the level of form and as a result of the incongruities between form and narrative. To support my thesis I engage a number of science fictional texts, focusing on Golden Age sf of the mid-20th century, while also branching out into explorations of a variety of 20th and 21st century sf texts, including texts from the pulp era, New Wave, cyberpunk, and post-singularity sf. I analyze within the effects of the conceptual mapping of society in terms of the natural sciences in sf, as well as the ambivalent presence of the robot as a megatextual motif, exploring the relationship of these to the ideology of modernity as progress and the post-scarcity fantasy of global mass consumption prosperity.
B.A.
Bachelors
Arts and Humanities
English - Literature

In this thesis I take up the challenge to see whether designers would benefit from using science fiction in order to extend their resources when generating novel interaction design concepts for emergency situations. I discuss the relationship between the nature of fiction and design, and trademarks for emergency situations. I choose four scenes from different media types to analyse, further ideate and evaluate in order to derive final concepts, which I submitted to user testing. I argue that designers may well take science fiction into consideration when generating novel interaction design concepts in a successful way.

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Bachelors
Arts and Sciences
English

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Bachelors
Arts and Sciences
English Literature

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Bachelors
Arts and Sciences
Philosophy

In 1957 at the University of Chicago, Robert Heinlein asserted that through science fiction humanity can wonder upon important questions without causing harm to the real world. Through such speculative experiments science fiction can warn against dangerous solutions, urge toward better solutions. Science fiction joyously tackles the real and pressing problems of our race, wrestles with them, never ignores them—problems which other forms of fiction cannot challenge. For this reason I assert that science fiction is the most realistic, the most serious, the most significant, the most sane and healthy and human fiction being published today. (Davenport, 1959). Preservice teachers enrolled in the education program at a large metropolitan university were surveyed to determine if they had preconceived notions about science fiction, if they would use science fiction within their classrooms and if science fiction would be available to the students in their classrooms. Also explored was if these future educators believed science fiction was too complex for English language learners and students with exceptionalities. Analysis of this survey revealed that although most preservice teachers believe science fiction literature has value within the classroom and they planned to use it at least part of the time, about one in five believed the concepts and themes were too complex for English language learners and students with exceptionalities. The researcher of this study hopes the information contained in this study can help educators encourage students to read science fiction as well as provide the educators with a resource of science fiction literature book titles which are grade level and ability level appropriate for their students.
B.S.
Bachelors
Educational and Human Sciences
Education and Human Performance
Elementary Education

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Bachelors
Arts and Sciences
English

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Liberal Studies

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Bachelors
Arts and Sciences
English

University of Central Florida College of Arts and Sciences Thesis
A computer screen places each of us in an interface and virtual reality provides a totally simulated environment, a virtual world that we can enter. Enterface is a novella that examines the question first posed by Michael Heim: How far can we enter cyberspace and still remain human? It also explores the power and the limitation of language and the role of stories to shape reality in human life. Its themes are death, technology, ethics, and love. It is informed by Wittgensteinian philosophy, Norse mythology, and the "metaphysics of virtual reality." The plot involves Moses Mackinow, a former Air Force officer and entrepreneur, who decides there should be a way to simply live forever. He hits upon the idea that life could be digitized, and a civilization, a world of complete, sentient humans could be created in cyberspace--a world he could enter upon his death and continue to live. A variety of technologies are available to digitize the physical human (x-rays, CTSCNS, Magnetic Rensonance Images, graphic images, etc.), but the big problem is how to synthesize his human heart. Moses decides that the stories of his life are the keys to creating the "rag and bone shop" of his eternal heart. Getting the stories "right" is critical to the prospect of digitizing life and is a major focus of the novella action. The novella traces the reduction of Moses as a a human being as he pursues his obession, compromising one principle after another. Everything in the environment of the novella, reflects this reduction. Everything becomes less than it was, a glimpse of humanity reduced to bits and bytes, floating 1's and 0's. Enterface is a work at war with itself.
M.A.;
English
Arts and Sciences;
165 p.
vii, 165 leaves, bound ; 28 cm.

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Bachelors
Arts and Sciences
English

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Bachelors
Arts and Sciences
English; Creative Writing

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Bachelors
English
Arts and Sciences
Creative Writing

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Liberal Arts

The following study has its origin and context in the politically polarised McCarthy era of the American history. With the WWII in retrospect, politicians in Western nations quickly acknowledged the potential impact and sphere of influence of popular culture and its ability to form public opinion. During this period attempts were made to censor culture from underlying socialist messages in order to spread and awake support for the government, especially in mainstream Hollywood productions. However, how successful were these attempts and did it actually create a resistance against the censorship’s proclaimers? This study analyses four different Hollywood science fiction films from the 1950’s and argues that the underlying messages were more diverse than previously expected. Some of the productions seemed to endorse the McCarthyist values, whereas others more clearly rejected these sets of values, implicitly claiming they were a highly irrational response to an unstable international situation.

Ein wesentliches Charakteristikum der klassischen Utopieerzählungen der Renaissance ist, dass sie vor allem Raumutopien darstellen. Die Utopie ist an einem Wunschort angesiedelt, einer Imagination, die sich in zeitlicher Entfernung zum Betrachter befinden kann, die in jedem Fall aber eine beträchtliche räumliche Entfernung aufweist. Es scheint also eine Art Notwendigkeit zu bestehen, eine ideale Gesellschafts- respektive Staatsform in die topografische Peripherie zu verlegen, weitab von der real existierenden Gesellschaft, innerhalb derer die Utopie entstand. Nur so kann sich das Ideale frei von gegenwärtigen omnipräsenten Einflüssen entfalten, kann ein idealer Gesellschaftsentwurf mit der realen Gesellschaft kontrastieren und sie widerlegen. Worin kann man bei dieser Charakterisierung des utopischen (Nicht-)Ortes Gemeinsamkeiten mit dem (Nicht-)Ort Raumschiff sehen? Kann ein Raumschiff die Basis einer Utopie darstellen, quasi ein paradigmatisches Anderswo, abgekoppelt von unserer Welt und doch mit ihr geistig verbunden? Insbesondere, wenn es sich hier um das US-amerikanische Franchise Star Trek handelt, das gemeinhin eher unter dem Genre Science-Fiction denn als Utopie behandelt wird? Im Folgenden will ich anhand der Fernsehserie „Star Trek: The Next Generation“ versuchen aufzuzeigen, welche Rolle das Raumschiff als Handlungsort innerhalb der Serie spielt und welche utopische Bedeutung es für die Serie erlangt.

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
English

Der Schöpfer der Science-Fiction-Serie Babylon 5 J. Michael Straczynski musste sich in einem Interview die Frage gefallen lassen, warum in seiner Serie die alltägliche Kommunikation noch über Handgeräte abgewickelt würde. Schließlich sei es doch heute allgemein akzeptiert, dass so genannte Kommunikatoren, die an die Brust geheftet werden, die vorherrschende Technologie der Zukunft sein werden. Diese Art von Technik, Kommunikatoren, tauchten zum ersten Mal 1987 in der Fernsehserie Star Trek: The Next Generation auf. In der Tat lösten sie in der Star Trek-Zeitlinie jene Handgeräte ab, die 1966 erstmals von Captain James T. Kirk und seiner Crew in Star Trek: The Original Series verwendet wurden und die eine frappierende Ähnlichkeit mit den kleinen Mobiltelefonen der Gegenwart besitzen. Diese kleine Anekdote macht deutlich, wie sehr Star Trek im gesellschaftlichen Diskurs mit alltäglich benutzter Technik assoziiert wird und welche mächtige Position diese Science-Fiction-Serie in unserer Populärkultur einnimmt, dass sich sogar andere Science-Fiction-Serien, die in völlig anderen zukünftigen Parallelwelten spielen, nach ihr richten sollen. Ist Star Trek tatsächlich so von Technik dominiert, dass sich andere Serien danach richten sollen? Wie wird die Technisierung der Gesellschaft in Star Trek thematisiert? Welche Konsequenzen ergeben sich daraus? Und auf welche Weise reflektiert das Star Trek-Universum die technische Fortentwicklung der Gegenwart?

Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film and Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.
ID: 029810312; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
Film
Arts and Humanities

It has been previously established that when engaged in a difficult attention intensive task, which involves repeating information while blocking out other information (the dichotic listening task), participants are often able to report hearing their own names in an unattended audio channel (Moray, 1959). This phenomenon, called the cocktail party effect is a result of words that are important to oneself having a lower threshold, resulting in less attention being necessary to process them (Treisman, 1960). The current studies examined the ability of a person who was engaged in an attention demanding task to hear and recall low-threshold words from a fictional story. These low-threshold words included a traditional alert word, “fire” and fictional character names from a popular franchise—Harry Potter. Further, the role of stimulus degradation was examined by including synthetic and accented speech in the task to determine how it would impact attention and performance. In Study 1 participants repeated passages from a novel that was largely unfamiliar to them, The Secret Garden while blocking out a passage from a much more familiar source, Harry Potter and the Deathly Hallows. Each unattended Harry Potter passage was edited so that it would include 4 names from the series, and the word “fire” twice. The type of speech present in the attended and unattended ears (Natural or Synthetic) was varied to examine the impact that processing a degraded speech would have on performance. The speech that the participant shadowed did not impact unattended recall, however it did impact shadowing accuracy. The speech type that was present in the unattended ear did impact the ability to recall low-threshold, Harry Potter information. When the unattended speech type was synthetic, significantly less Harry Potter information was recalled. Interestingly, while Harry Potter information was recalled by participants with both high and low Harry Potter experience, the traditional low-threshold word, “fire” was not noticed by participants. In order to determine if synthetic speech impeded the ability to report low-threshold Harry Potter names due to being degraded or simply being different than natural speech, Study 2 was designed. In Study 2 the attended (shadowed) speech was held constant as American Natural speech, and the unattended ear was manipulated. An accent which was different than the native accent of the participants was included as a mild form of degradation. There were four experimental stimuli which contained one of the following in the unattended ear: American Natural, British Natural, American Synthetic and British Synthetic. Overall, more unattended information was reported when the unattended channel was Natural than Synthetic. This implies that synthetic speech does take more working memory processing power than even an accented natural speech. Further, it was found that experience with the Harry Potter franchise played a role in the ability to report unattended Harry Potter information. Those who had high levels of Harry Potter experience, particularly with audiobooks, were able to process and report Harry Potter information from the unattended stimulus when it was British Natural. While, those with low Harry Potter experience were not able to report unattended Harry Potter information from this slightly degraded stimulus. Therefore, it is believed that the previous audiobook experience of those in the high Harry Potter experience group acted as training and resulted in less working memory being necessary to encode the unattended Harry Potter information. A pilot study was designed in order to examine the impact of story familiarity in the attended and unattended channels of a dichotic listening task. In the pilot study, participants shadowed a Harry Potter passage (familiar) in one condition with a passage from The Secret Garden (unfamiliar) playing in the unattended ear. A second condition had participants shadowing The Secret Garden (unfamiliar) with a passage from Harry Potter (familiar) present in the unattended ear. There was no significant difference in the number of unattended names recalled. Those with low Harry Potter experience reported significantly less attended information when they shadowed Harry Potter than when they shadowed The Secret Garden. Further, there appeared to be a trend such that those with high Harry Potter experience were reporting more attended information when they shadowed Harry Potter than The Secret Garden. This implies that experience with a franchise and characters may make it easier to recall information about a passage, while lack of experience provides no assistance. Overall, the results of the studies indicate that we do treat fictional characters in a way similarly to ourselves. Names and information about fictional characters were able to break through into attention during a task that required a great deal of attention. The experience one had with the characters also served to assist the working memory in processing the information in degraded circumstances. These results have important implications for training, design of alerts, and the use of popular media in the classroom.
ID: 031001451; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Valerie K. Sims.; Title from PDF title page (viewed July 2, 2013).; Thesis (Ph.D.)--University of Central Florida, 2012.; Includes bibliographical references (p. 168-173).
Ph.D.
Doctorate
Psychology
Sciences
Psychology; Human Factors Psychology

Die vorliegende Arbeit erörtert Ansätze für „Zeitmaschinen“, die in Einklang mit der modernen Physik stehen. Besprochen werden u. a. die Tachyonen-Hypothese, Tiplers rotierender Zylinder, der Gödel-Kosmos, der Anti-de-Sitter-Kosmos und die sogenannten „Wurmlöcher“. Zugleich sollen Ansätze vorgestellt werden (z. B. Eternalismus, Viele-Welten-Modell, Prinzip der konsistenten Geschichte), die Lösungsversuche für die Paradoxien von Vergangenheitsreisen bieten. Obwohl erstaunlicherweise die fundamentalen Gesetze der Physik (abgesehen von extrem seltenen und makroskopisch nicht in Erscheinung tretenden quantenmechanischen Effekten) bei einer Zeitumkehr nicht verletzt sind, scheint es in der Natur doch ein grundsätzliches Verbot von Vergangenheitsreisen zu geben. Der Physiker Dieter Zeh, dessen Position im Schlusskapitel der Arbeit näher beleuchtet wird, vertritt die Auffassung, dass die Science-Fiction-Literatur zum Thema „Zeitreisen“ überwiegend auf einfachen begrifflichen Fehlern beruhe. Die in Anlehnung an die Allgemeine Relativitätstheorie konstruierten Vorgänge seien bestenfalls genauso „theoretisch möglich“ wie ein Gas, das sich von selbst in einer Ecke des Gefäßes versammelt. Um die Reisen in die Vergangenheit scheint es zu stehen wie mit einer Anfrage an Radio Jerewan; die Antwort lautet stets: „Im Prinzip ja, aber …“ Doch die Faszination dieser Idee wird weiterhin Stoff für die „Fiction“ liefern.

La visión de espectadores y cineastas, por igual, en el contexto de la falta de ciencia ficción como género cinematográfico en el Perú, y las teorías detrás de los intereses cinematográficos de los cineastas latinoamericanos. El presente texto tocará una visión analítica de la problemática de producción en el Perú para un género tan universal como lo es la ciencia ficción, a su vez revisará consecutivamente los pormenores del porvenir contextual de la ciencia ficción como género en el mundo, criterios estilísticos de la misma, definiciones, y consideraciones temáticas, adentrándonos en la historia anecdótica de la ciencia ficción, en Latinoamérica también. Por último, la investigación reciclará estos conceptos y reflexiones, y permitirá esclarecer algunos patrones en la historia nacional de las producciones de este tipo.
The vision of viewers and filmmakers, alike, in the context of the lack of science fiction as a film genre in Peru, and the theories behind Latin American filmmaker cinematographic interests. This text will consecutively provide a greater understanding of science fiction as a cinematographic gender in Peru. It will explain the details of Peruvian science fiction production within the last three decades. My work will explore several characteristics and definitions regarding the true “meaning” of science fiction (and its global conceptions). It will conclude with a few thoughts that will put some light on the matter by discovering the causes and effects of the phenomenon.
Trabajo de investigación

The mediation of foreign films for Swahili audiences is an established cultural and linguistic practice in Tanzania that combines translation with commentary and story-telling. It helps audiences make sense of films whose original language and cultural background are unfamiliar to them. Today, an industry has grown around translated foreign films of all genres and from all regions. The practice also makes genres accessible that are still under-represented in Tanzanian film production, such as science fiction. The genre’s depiction of a futuristic, technically advanced and strange world presents a challenge to commentators. Through the analysis of a particular episode of the Star Wars saga, I show how the commentator acts as an ethnodramaturg, who through translation, re-narration and intertextual reference explains and re-enacts the strange cultural universe of the source film and brings it closer to the audience.