Elimination of Crime: Science Fiction or Reality

1974 ◽  
Vol 19 (1) ◽  
pp. 47-48
Author(s):  
ALICE M. PADAWER-SINGER
Keyword(s):  
Science Fiction ◽  
Crime Science

Openness of Comics

2016 ◽  
Author(s):  
Maaheen Ahmed
Keyword(s):  
Science Fiction ◽  
Broad Spectrum ◽  
Diverse Group ◽  
Work Of Art ◽  
Crime Science ◽  
Open Work ◽  
Anglo American ◽  
The Many ◽  
Aesthetic Structure ◽  
Alan Moore

Never before have comics seemed so popular or diversified, proliferating across a broad spectrum of genres, experimenting with a variety of techniques, and gaining recognition as a rich form of art. Openness of Comics examines this trend by taking up the philosopher Umberto Eco’s notion of the open work of art, according to which the reader–or listener or viewer, as the case may be–is offered several possibilities of interpretation in a cohesive narrative and aesthetic structure. The monograph delineates the visual, literary, and other medium-specific features used by comics to form open rather than closed works, focusing on the methods through which comics generate (or limit) meaning, as well as increase the scope of reading into a text. The analysis of a diverse group of Anglo-American and European (Franco-Belgian, German, Finnish) comics from key genre categories–fictionalized memories and biographies, adventure and superhero, noir, black comedy and crime, science fiction and fantasy–demonstrate the many ways in which comics generate openness by teasing genres codes and conventions while maintaining a cohesive structure. Analyzed comics include: Will Eisner’s The Contract with God Trilogy, Jacques Tardi’s It Was the War of the Trenches, Hugo Pratt’s The Ballade of the Salty Sea, Edmond Baudoin’s The Voyage,Grant Morrison and Dave McKean’s Arkham Asylum, Neil Gaiman’s Sandman, Alan Moore and Eddie Campbell’s From Hell, Moebius’ Arzach, Yslaire’s Cloud 99 series, and JarmoMäkilä’s Taxi Ride to Van Gogh’s Ear.

Teknologi Komunikasi dan Informasi

2018 ◽  
Vol 15 (1) ◽  
pp. 1-11
Author(s):  
Bahtiar
Keyword(s):  
Science Fiction

Teknologi merupakan segala sesuatu sarana yang digunakan untuk memudahkah kehidupan manusia dalam menjaga kelangsungan hidup. Perkembangan teknologi juga sebagai indicator kemajuan suatu peradaban manusia pada setiap masanya dan itu menjadi dasar untuk perubahan dan perkembangan teknologi kedepannya. Kemajuan sebuah teknologi sangat berimplikasi pada perubahan kehidupan manusia baik secara positif maupun negative. Besarnya pengaruh dari teknologi membuat manusia terus melakukan berbagai pengembangannya untuk menciptakan teknologi-teknologi baru demi memudahkan kehidupan manusia dalam berbagai hal. Sebagaimana plot dalam film (science fiction) dengan judul “Jumper”, dalam film ini menggambarkan bagaimana pengaruh sains dan teknologi yang diimajinasikan terhadap masyarakat mampu membuka hubungan jarak jauh secara fisik seperti pesan suara atau gambar melalui teknologi frekuensi atau jaringan dengan kemampuan “teleportasi” (perpindahan fisik atau tubuh manusia dari suatu tempat ke tempat yang lain dalam waktu yang sangat cepat). Selanjutnya komunikasi merupakan interaksi dua orang atau lebih yang memiliki kesamaan makna mengenai hal yang diperbincangkan dan mengistilahkannya dengan komunikatif. selain membangun interaksi social, komunikasi juga sebuah proses penyampaian informasi kepada khalayak untuk diketahui dan dipahami. Sehingga penyebaran informasi tersebut melahirkan sebuah tatanan kehidupan social atau budaya yang baru ditengah masyarakat (peradaban), sesuai dengan tuntutan dan tuntunan perubahan jaman (masa)

Perdre la mesure… Or, The Ecologics of Extinction

CounterText ◽  
2016 ◽  
Vol 2 (1) ◽  
pp. 15-30
Author(s):  
Stefan Herbrechter
Keyword(s):  
Climate Change ◽  
Solar System ◽  
Science Fiction ◽  
Current Level ◽  
Recent Book ◽  
Human Race ◽  
World Picture ◽  
Adequate Measurement ◽  
Ecological Catastrophe

The article takes its cue from Olivier Rey's recent book Une question de taille (a question of size) and develops the idea of humanity ‘losing its measure, or scale’ in the context of contemporary ecological catastrophe. It seems true that the current level of global threats, from climate change to asteroids, has produced a culture of ambient ‘species angst’ living in more or less constant fear about the survival of the ‘human race’, biodiversity, the planet, the solar system. This indeed means that the idea of a cosmos and a cosmology may no longer be an adequate ‘measurement’ for scaling the so far inconceivable, namely a thoroughly postanthropocentric world picture. The question of scale is thus shown to be connected to the necessity of developing a new sense of proportion, an eco-logic that would do justice to both, things human and nonhuman. Through a reading of the recent science fiction film Interstellar, this article aims to illustrate the dilemma and the resulting stalemate between two contemporary ‘alternatives’ that inform the film: does humanity's future lie in self-abandoning or in self-surpassing, in investing in conservation or in exoplanets? The article puts forward a critique of both of these ‘ecologics’ and instead shows how they depend on a dubious attempt by humans to ‘argue themselves out of the picture’, while leaving their anthropocentric premises more or less intact.

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