Gotowe bibliografie tematyczne / Science fiction

Gotowa bibliografia na temat „Science fiction”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Science fiction"

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Allain, Rhett. "The fictional science of science fiction". Physics World 32, nr 11 (listopad 2019): 49–51. http://dx.doi.org/10.1088/2058-7058/32/11/39.

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Rowe, Raymond C. "Private prescription: Science fiction – fictional science?" Drug Discovery Today 6, nr 11 (czerwiec 2001): 561–62. http://dx.doi.org/10.1016/s1359-6446(01)01814-1.

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Xia, Tianyi. "The Development History of Chinese Science Fiction from Liu Cixin's Science Fiction". International Journal of Languages, Literature and Linguistics 6, nr 3 (wrzesień 2020): 136–41. http://dx.doi.org/10.18178/ijlll.2020.6.3.265.

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Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale". Open Philosophy 2, nr 1 (30.10.2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.

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AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb Objects (often called BDOs) have been understood in terms of science fiction’s enduring interest in the technological sublime and the transcendental. While object-oriented ontology has often turned to science fiction and weird fiction for inspiration in rethinking the possibilities inherent in things and their relations, it has not considered the implications of BDOs for a theory of the object more broadly. The goal of this article is to consider how extreme size and representations of scale in science fiction can help expand an understanding of the object along lines that are similar to those pursued by object-oriented ontology, especially Timothy Morton’s notion of hyperobjects.
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OʼNeil, E., i E. N. Naumova. "Influenza: Science, Fiction, or Science Fiction?" Epidemiology 18, Suppl (wrzesień 2007): S42. http://dx.doi.org/10.1097/01.ede.0000276550.11733.25.

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Rabkin, Eric S., James B. Mitchell i Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (październik 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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Reinsborough, Michael. "Science fiction and science futures: considering the role of fictions in public engagement and science communication work". Journal of Science Communication 16, nr 04 (20.09.2017): C07. http://dx.doi.org/10.22323/2.16040307.

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The imagination of possible scientific futures has a colourful history of interaction with scientific research agendas and public expectations. The 2017 annual UK Science in Public conference included a panel discussing this. Emphasizing fiction as a method for engaging with and mapping the influence of possible futures, this panel discussed the role of science fiction historically, the role of science fiction in public attitudes to artificial intelligence, and its potential as a method for engagement between scientific researchers and publics. Science communication for creating mutually responsive dialogue between research communities and publics about setting scientific research agendas should consider the role of fictions in understanding how futures are imagined by all parties.
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Nandi, Shibasambhu. "Science Fiction and Film: An Analytical Study of Two Select Indian Movies". International Journal of English Learning & Teaching Skills 5, nr 4 (3.07.2023): 3438–46. http://dx.doi.org/10.15864/ijelts.5407.

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Science fiction is a genre of art that caters to the popular taste of the people. It presents a world mixed with science and fictional elements. It can be taken as a microcosm of fictional literature. It uses to present unfamiliar and unknown things in a familiar and known way. It provides its diverse themes and issues not only in texts but also in films. When science fiction is adapted into movies, it is able to attract a large number of audiences specially the young generation of writers. Science fictional films cover the issues like future society, challenges created by scientific developments, human enhancement through science and technology, human-machine clash, hybrid identity, world of aliens, and Artificial Intelligences. There are many films in western countries covering the issue of science fiction. Production houses designed the films in such a way that it can make an appeal to the audience. Even in India, there are several science fiction films. From 1952 to the present, Indian cinema contributes a lot by producing one after another attracting films on the theme of science fiction. The present paper is going to analyze two films Koi...Mill Gaya and its sequel Krish 3 from the perspectives of science fiction. The paper will also try to present the history of science fiction films in India and in the West. It attempts to depict the science fictional elements and new techniques shown in the films. These films are the representations of future society which accepts the inhabitation of different beings like modified human, superhuman and aliens.
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Pierce, Erin. "Science Fiction and Fantasy". Voices from the Middle 9, nr 2 (1.12.2001): 74–77. http://dx.doi.org/10.58680/vm20012388.

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Offers brief annotations of 40 science fiction and fantasy books that middle school readers might enjoy. Notes that readers can confront the realities of this real world as the fictional characters fight good and evil, search for identity, summon courage, and enjoy family and friends.
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Bailey, Edward. "Science Fiction, Historical Fiction and Religion Fiction?" Implicit Religion 17, nr 4 (12.12.2014): 539–41. http://dx.doi.org/10.1558/imre.v17i4.539.

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Rozprawy doktorskie na temat "Science fiction"

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Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction". Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/5838.

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Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
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Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction". University of Sydney, 2009. http://hdl.handle.net/2123/5838.

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Master of Philosophy (MPhil)
Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
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Perna, Sandro Maria <1981&gt. "Science (in) fiction. Un CLIL de science à travers... la science (fiction)". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15543.

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L'elaborato descrive e riflette su un'esperienza CLIL svolta in due classi terze di un Liceo scientifico siciliano, esperienza che si è svolta attraverso la visione di alcuni video in lingua inglese o senza audio come fase di globalità, attraverso alcuni esercizi in fase di analisi, attraverso dei giochi in quella di sintesi: il tutto, sempre facendo parlare gli studenti in lingua. Il fatto di svolgere il tutto in due classi ha permesso di studiare due gruppi disomogenei, accomunate dall'insegnante di scienze ma con docenti di lingua differenti per approccio e metodologia.
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Sjörs, Simon. "Fysikundervisningens science fiction". Thesis, Uppsala universitet, Fysikundervisningens didaktik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-331199.

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Science fiction och populärmedia är en stor del av vardagen i dagens samhälle. Elever konsumerar den typen av media på egen tid och söker sig till den för underhållning utanför skolans väggar, möjligen utan att reflektera över vad det är som konsumeras. Den här studien fokuserar på science fiction och hur de välproducerade medierna tas emot och reflekteras kring av konsumenterna, som i det här fallet är elever. Finns det möjlighet för lärare inom fysik eller någon annan naturvetenskap att utnyttja det intresse och den pseudovetenskap, som dessa medier kan förmedla, i skolan? Elever har en bild av vad fysik är i skolans värld efter hur fysikundervisningen är upplagd och syftet för arbetet är att undersöka möjliga sätt som de olika världarna kan mötas. Det riktar sig mot att utvärdera en undersökning gjord i en elevgrupp bestående av 6 fysikstuderande elever på gymnasiet. Kärnan i undersökningen är att se vilka typer av diskussioner som uppstår efter visning av ett eller flera filmklipp från populära spelfilmer, innehållande fysiska moment. De fysiska momenten är sekvenser som kan förklaras med den fysik vi har idag eller så kan det vara orimliga sekvenser som inte går att förklara. Eftersom den här typen av media ofta bygger på att skapa känslor hos konsumenten så förekommer det att verklighetsförankringen ofta försvinner. Det teoretiska ramverk som undersökningen håller sig till utgår i konceptet ägandeskap av lärande och syftar till hur elever utvärderar sina egna idéer och tar ansvar för att följa upp tidigare funderingar eller frågor som de själva uttryckt. På så vis kan eleverna själva förhoppningsvis se värdet av kritiskt tänkande och även att eleverna kan minnas vad de lärt sig över en längre tid.
Science fiction or rather popular media is a major part of everyday life in today's society. Students consume this media in their spare time and watch it for entertainment, possibly without even reflecting over the consumed content. This paper will focus on science fiction and how the well-produced media is received and reflected upon by the consumers, in this case upper-secondary physics students. Is there an opportunity for physics teachers or other natural sciences teachers to make good use of the interest and the pseudo science, that these media can convey, at school? Pupils have an idea of what physics is in school considering how physics education is laid out and the purpose of this work is to explore possible ways that these different worlds can meet. The work is aimed at evaluating a one hour session done with a student group consisting of 6 physics students in high school. The essence of the survey is to see what types of discussions occur after viewing one or more movie clips containing different physical phenomena. The physical events are shown in movieclips and can be explained by the physics we have today or there may be unrealistic events that cannot be explained. This kind of popular media is often based on creating emotional connections with the consumer which can take away the connection to reality and the real world physics. The theoretical framework that the study was based on is the concept of ownership of learning, this aims to consider how students evaluate their own ideas and take responsibility for following up on previous ideas or questions that they themselves expressed. That way the students hopefully find value in critical thinking and the retention of knowledge might increase.
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Fondanèche, Daniel. "Emergence d'une nouvelle science-fiction en 1960, influence des sciences-fictions americaines et anglaises des annees 60 sur la science-fiction francaise de 1974 a 1980". Limoges, 1989. http://www.theses.fr/1989LIMO0506.

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Le but de cette these est de montrer qu'a partir de 1960, une nouvelle science-fiction a emerge aux usa, en grande-bretagne, et que ce mouvement s'est prolonge en france dans les annees 70. Les romans retenus ont ete publies a partir de 1960 et jusqu'en 1973 pour les pays angloamericains; puis entre 1973 et 1980 pour la france. Cette s. F. Emergente est caracterisee par un renouvellement de la thematique traditionnelle et l'apparition d'une thematique nouvelle. Ces nouvelles s. F. Ont eu une volonte commune : se referer au present pour se rapprocher de la litterature generale. Elles ont subi des transformations dont la plus interessante est probablement leur engagement dans une forme moderne d'humanisme. Les romans retenus dans le corpus temoignent du phenomene de transculturation que m. Mead et t. Roszak ont mis en evidence. L'emergence de cette nouvelle thematique a ete justifiee et expliquee en se referant a l'utilisation traditionnelle des themes, a l'histoire du genre, aux transformations politiques, socio-economiques et culturelles qui se sont produites dans le monde occidental au debut des annees 60. Enfin, on a tente de percevoir quels etaient les contenus et les limites de cette nouvelle s. F. Dont tous les apports n'ont pas survecu dans les annees 80
The purpose of this thesis is to show that a new form of science fiction came into being in the united states and in great britain in 1960 and that, in france, this movement lasted well into the seventies. The novels that have been selected were published between 1960 and 1973 for anglo-american countries and between 1973 and 1980 for france. This emerging s. F. Was characterised by a revival of the old conventional themes ans the apparition of new topics. These new forms of s. F. Shared a common aim : to use the present times in order to break through separation between general literature and s. F. . They underwent changes, the most remarkable of wich was without doubt this commitment to a modern form of humanism. The novels selected in the corpus show the transculturation which m. Mead and t. Roszak highlighted. The emergence of this new themes has been justified and explained with reference to the conventional use of topics, the history of the genre and the political socio-economic and cultural changes which took place in the western world in the early sixties. Finally, the author attempted to comprehend the content and the limits of this new form of s. F. , not all of their contributions have survived into the eighties
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von, Knorring Ulrika. "”Läser science fiction utan att skämmas” : Om kvinnors läsning av science fiction". Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-19875.

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The purpose of this Master’s thesis is to investigate the female reader of science fiction literature, a genre by tradition dominated by men. Through qualitative interviews with seven female science fiction readers, the relation between the reading and the readers’ lives, as well as their concepts of the science fiction genre and the community of science fiction readers, was examined. The main theoretical framework used for the analysis was Yvonne Hirdman’s gender theory, Judith Butler’s concept of identity and Louise M. Rosenblatt’s transaction theory. Science fiction literature offers the female readers an opportunity to consider ethical and political issues, but it also gives them entertainment and experiences beyond the ordinary. Even though science fiction generally is described as progressive, the female readers often find it stereotyped in its gender representations. Being a woman reading science fiction means being an outsider in the science fiction community, as well as to women in general. The choice to read science fiction is therefore highly conscious, reflecting the respondents’ identities and their views of themselves as independent, open-minded and intellectual individuals.
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White, Craig (Craig E. ). 1971. "Science fiction to science fact : the link between early science fiction and the space programs". Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/9572.

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Juhlin, Hampus, i Pontus Novén. "Science fiction i spelutveckling". Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-3890.

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Detta kandidatarbete undersöker science fiction, en av de större och vanligast använda genrerna inom medier såsom spel, film och litteratur, genom att studera dess undergrupper, de så kallade subgenrerna. Dessa är specialiserade versioner av genren i fråga och använder den inom vissa förutsatta ramar, exempelvis hur samhället ser ut eller vilken typ av teknologi det huvudsakliga fokuset kretsar runt. Genom att studera hur subgenrer är beskrivna i The Encyclopedia of Science Fiction kan man avgöra att de består av sex punkter: plats, tidsperiod, karaktärer, teknologi, narrativ och visuell estetik. Dessa punkter har använts som ramverk för att utveckla en ny subgenre; Mystech, där scenarier utspelar sig i vad som kan ses som en typisk fantasyvärld med magi och monster, men där dessa egentligen bara är teknologi majoriteten av de påverkade inte förstår sig på. För att demonstrera Mystech har två olika miljöer utvecklats, både i bild och skriven form. Dessa är två mycket olika skådeplatser för scenarier att berättas i men som trots sina olikheter har nog med faktorer gemensamt för att kunna klassificeras som delar av samma subgenre.
Dess populäritet är tydlig, men hur spridd är användingen av science fiction i dagens spelindustri? Hur kan man använda sagda populäritet för att slå igenom som utvecklare utan att försvinna i mängden? Detta arbetet studerar subgenrer, specialiserade undergrupper till science fiction som tar upp just de områden du vill utnyttja för din projektidé och hur du kan utveckla egna sådana om du inte finner vad du söker bland de befintliga.
Hampus Juhlin telnr. 076-1853950 Pontus Novén telnr. 073-4448595
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Langer, Jessica. "Science fiction and postcolonialism". Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538778.

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Grimm, Gunter E. "Kometenforschung zwischen Aberglauben und Science-fiction - Comet research between superstition and science fiction". Gerhard-Mercator-Universitaet Duisburg, 2002. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-08162002-150835/.

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Książki na temat "Science fiction"

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Feige, Marcel. Science Fiction. Hamburg: Europäische Verlagsanstalt/Rotbuch, 2001.

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Schulz, Hans-Joachim. Science Fiction. Stuttgart: J.B. Metzler, 1986. http://dx.doi.org/10.1007/978-3-476-03930-9.

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Baker, Brian. Science Fiction. Redaktor Nicolas Tredell. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-47445-2.

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Joron, Andrew. Science fiction. Berkeley, Calif: Pantograph Press, 1992.

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Bodden, Valerie. Science fiction. Mankato, MN: Creative Education, 2012.

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G, Cunningham Jesse, red. Science fiction. San Diego, CA: Greenhaven Press, 2002.

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Clerc, Serge. Science-fiction. Marcinelle: Dupuis, 2016.

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Nicola, Griffith, i Pagel Stephen, red. Science fiction. Woodstock, N.Y: Overlook Press, 1998.

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Schulz, Hans-Joachim. Science fiction. Stuttgart: Metzler, 1986.

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Juhani, Hinkkanen, i Ekholm Kai, red. Science fiction. Helsinki: Kirjastopalvelu, 1990.

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Części książek na temat "Science fiction"

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Nahin, Paul J. "Religious Science Fiction Before Science Fiction". W Holy Sci-Fi!, 29–48. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0618-5_2.

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Gunn, James. "Reading Science Fiction as Science Fiction". W Reading Science Fiction, 159–67. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1057/978-1-137-07898-8_14.

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Orthia, Lindy A. "Science Fiction". W Encyclopedia of Science Education, 1–4. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-6165-0_329-2.

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Neary, Micheal. "Science Fiction". W Youth, Training and the Training State, 124–55. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-13955-2_5.

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Schmeink, Lars, i Simon Spiegel. "Science-Fiction". W Handbuch Filmgenre, 515–26. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-09017-3_26.

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Hoel, Camilla Ulleland. "Science Fiction". W The Palgrave Encyclopedia of Victorian Women's Writing, 1–5. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-02721-6_180-1.

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Späth, Sibylle. "Science-Fiction". W Rolf Dieter Brinkmann, 65–72. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03956-9_6.

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Watkins, Susan. "Science Fiction". W The History of British Women’s Writing, 1945–1975, 273–88. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1007/978-1-137-47736-1_17.

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Orthia, Lindy A. "Science Fiction". W Encyclopedia of Science Education, 899–902. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_329.

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Bould, Mark. "Science Fiction". W Critical Terms in Futures Studies, 261–66. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28987-4_40.

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Streszczenia konferencji na temat "Science fiction"

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Gyger, Patrick J. "Science Fiction vs. Science Fact". W 54th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2003. http://dx.doi.org/10.2514/6.iac-03-iaa.8.2.01.

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Landis, Geoffrey. "Spaceflight and Science Fiction". W 50th AIAA Aerospace Sciences Meeting including the New Horizons Forum and Aerospace Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2012. http://dx.doi.org/10.2514/6.2012-202.

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Bates, Rebecca, Judy Goldsmith, Rosalyn Berne, Valerie Summet i Nanette Veilleux. "Science fiction in computer science education". W the 43rd ACM technical symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2157136.2157184.

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Satwiko, Prasasto, i Brigitta Michelle. "From Science Fiction to Science Facts". W International Webinar on Digital Architecture 2021 (IWEDA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220703.050.

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Burton, Emanuelle, Judy Goldsmith, Nicholas Mattei, Cory Siler i Sara-Jo Swiatek. "Teaching Computer Science Ethics Using Science Fiction". W SIGCSE 2023: The 54th ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3545947.3569618.

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Milton, Graeme W., i Nicolae-Alexandru P. Nicorovici. "Cloaking: Science Fiction or Reality?" W Photonic Metamaterials: From Random to Periodic. Washington, D.C.: OSA, 2006. http://dx.doi.org/10.1364/meta.2006.tua3.

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Wilson, Daniel H. "Chasing Our Science Fiction Future". W HRI '15: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2696454.2714390.

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Butruille, Dorianne. "La nouvelle «Usher 2» de Ray Bradbury : de la science-fiction à une fiction de la science". W Territoires du récit bref. De l'image dans la fiction à l'imaginaire en science-fiction. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5289.

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Anderson, Ken, Mark Ayres, Fred Askham i Brad Sissom. "Holographic data storage: science fiction or science fact?" W SPIE Optical Engineering + Applications, redaktorzy Ryuichi Katayama i Thomas D. Milster. SPIE, 2014. http://dx.doi.org/10.1117/12.2061402.

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Bates, Rebecca. "Session details: Science fiction in computer science education". W SIGCSE '12: The 43rd ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2012. http://dx.doi.org/10.1145/3248097.

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Raporty organizacyjne na temat "Science fiction"

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Dribben, Douglas A. DNA Statistical Evidence and the Ceiling Principle: Science or Science Fiction". Fort Belvoir, VA: Defense Technical Information Center, marzec 1994. http://dx.doi.org/10.21236/ada456707.

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Webster, James K. Science Fiction as a Prism for Understanding Geopolitics. Fort Belvoir, VA: Defense Technical Information Center, kwiecień 2015. http://dx.doi.org/10.21236/ad1003712.

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van Boekel, M. A. J. S. Food, facts and fiction : A story about science and perception. Wageningen: Wageningen University & Research, 2019. http://dx.doi.org/10.18174/503823.

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Smith, Dina Cherise. Exploring the Recognizability and Nature of Media References in Female Science Fiction and Fantasy Fandom Dress. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1814.

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Blaxter, Tamsin, i Tara Garnett. Primed for power: a short cultural history of protein. TABLE, listopad 2022. http://dx.doi.org/10.56661/ba271ef5.

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Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
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Poussart, Denis. Le métavers : autopsie d’un fantasme Réflexion sur les limites techniques d’une réalité synthétisée, virtualisée et socialisée. Observatoire international sur les impacts sociétaux de l’intelligence artificielle et du numérique, luty 2024. http://dx.doi.org/10.61737/sgkp7833.

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Lorsque Neal Stephenson a introduit le terme « métavers » dans son roman de science-fiction Snow Crash, en 1992, il était loin de se douter que le mot allait susciter autant de discussions. La notion d’une réalité d’un type nouveau, qui serait synthétisée, puis virtualisée et librement socialisée, est fascinante par ce qu’elle exigerait aux plans scientifique et technique. Fascinante surtout par ses retombées éventuelles aux niveaux culturel et social, y compris de nature éthique (qui ne sont pas abordées ici). Ce texte rappelle brièvement l’origine du concept avant de se consacrer à ses requis et défis techniques, abordés en l’examinant comme un système avancé d’information et communication. Le métavers revêt une complexité inédite alors que les capacités cognitives de l’humain et de la machine sont appelées à se fusionner avec synergie. L’analyse – qui demeure succincte compte tenu du format d’un article court – permettra de comprendre comment et pourquoi le métavers, dans la mouture originale proposée par Stephenson, demeure une utopie. Mais aussi comment l’élimination de certains requis peut permettre d’en retenir une saveur intéressante, laquelle apparait déjà dans une multitude d’applications.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien i Damon Herd. A New Palingenesis. University of Dundee, listopad 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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Tare, Medha, Susanne Nobles i Wendy Xiao. Partnerships that Work: Tapping Research to Address Learner Variability in Young Readers. Digital Promise, marzec 2018. http://dx.doi.org/10.51388/20.500.12265/67.

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Over the past several decades, the student population in the United States has grown more diverse by factors including race, socioeconomic status, primary language spoken at home, and learning differences. At the same time, learning sciences research has advanced our understanding of learner variability and the importance of grounding educational practice and policy in the individual, rather than the fiction of an average student. To address this gap, LVP distills existing research on cognitive, social and emotional, content area, and background Learner Factors that affect learning in various domains, such as reading and math. In conjunction with the development process, LPS researchers worked with ReadWorks to design studies to assess the impact of the newly implemented features on learner outcomes.
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