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Zepke Stephen: Head in the Stars. Essays on Science Fiction

Science fiction concerns the future, of course, this being its simple, organising essence. But science fiction wants to do more than just be in the future, it wants to predict the future, to reveal its horrors and beauty, its similarities and difference, and more importantly, tell us about all the cool stuff. This means that the ‘future’ science fiction explores has changed a lot over the years, and has a fascinating past, one with a twistier time-line than a Phillip K. Dick story […]. But this book is not a history of science fiction, because although historical context plays a part – the Cold War from which alien arrival films emerge, or our biopolitical present in which interface films become symptomatic – this book is most concerned with science fiction futures that crack history open, allowing something unaccountable to emerge, something singular and new. As a result, this book sees the ‘new’ and its ‘future’ in science fiction in a very different way from Darko Suvin and Frederic Jameson, whose astoundingly influential theory sees science fiction futures as forms of ‘cognitive estrangement’ that seek to reflect on the present that produces them. [from the Introduction] Layout: Dejan Dragosavac Ruta 260 pages [Paperback : 13,5 x 19 cm] Publisher: Multimedijalni institut [Zagreb, Croatia] ISBN: 978-953-7372-67-5 — the book is available via Amazon: https://www.amazon.de/dp/9537372677/ref=olp_product_details?_encoding=UTF8&me=

Science fiction concerns the future, of course, this being its simple, organising essence. But science fiction wants to do more than just be in the future, it wants to predict the future, to reveal its horrors and beauty, its similarities and difference, and more importantly, tell us about all the cool stuff. This means that the ‘future’ science fiction explores has changed a lot over the years, and has a fascinating past, one with a twistier time-line than a Phillip K. Dick story […].

But this book is not a history of science fiction, because although historical context plays a part – the Cold War from which alien arrival films emerge, or our biopolitical present in which interface films become symptomatic – this book is most concerned with science fiction futures that crack history open, allowing something unaccountable to emerge, something singular and new. As a result, this book sees the ‘new’ and its ‘future’ in science fiction in a very different way from Darko Suvin and Frederic Jameson, whose astoundingly influential theory sees science fiction futures as forms of ‘cognitive estrangement’ that seek to reflect on the present that produces them. [from the Introduction]

Layout: Dejan Dragosavac Ruta
260 pages [Paperback : 13,5 x 19 cm]
Publisher: Multimedijalni institut [Zagreb, Croatia]
ISBN: 978-953-7372-67-5


— the book is available via Amazon: https://www.amazon.de/dp/9537372677/ref=olp_product_details?_encoding=UTF8&me=

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that they amount to nothing more than the infinite and self-evident

multiplicity of humankind, as obvious in the difference between me

and my cousin from Lyon as it is between the Shi’ite community of

Iraq and the fat cowboys of Texas.’ (Badiou, 2001 26).

58 Badiou is at his most provocative on this point, arguing that

‘post-modern’ ethics rests on the untenable position of a ‘radical

Other’ as it is understood by Emmanuel Lévinas. The ‘ethics of

difference’, ‘multiculturalism’ and any other political practice based

on the recognition of otherness appeals to Lévinas’ theory of the

Other as ‘a principle of alterity which transcends mere finite experience.’

Lévinas calls this the ‘Altogether-Other’, and, Badiou claims, ‘it

is quite obviously the ethical name for God’ (2001 22). Badiou makes

atheism an absolute condition of truth, which cannot rest on any

transcendental outside. Nevertheless, alien films have sometimes

explored the theological dimension of Otherness, most notably the

cloven hoofed aliens that finally help to re-install Mel Gibson’s faith

in Signs (Shyamalan, 2002), and the debate between science and faith

that receives its resolution in the divine aliens of Contact (Zemeckis,

1997). Despite the opposing roles for aliens in the two films (baddies

and goodies respectively), both argue for the necessity of faith in a

transcendental Other as the (religious) consequence of the phenomenal

appearance of aliens.

59 In this sense It Came from Outer Space poses the same political question

as Badiou: ‘Can there be a just politics? Or a politics which does

justice to thought?’ (2004 69) See also, ‘Politics as a Truth Procedure’,

in 2004a.

60 For Badiou this makes the production of truth an ‘infinite production’

irreducible to established knowledge and ‘determined only by

the activity of those faithful to this event, it can be said that generic

thinking is, in the widest sense of the term, militant thinking’ (1999

81).

61 I’d like to thank Arturo Silva for his inspiration and collaboration

on this essay. Without him it wouldn’t have started, and without his

insights it wouldn’t have been half as good.

245

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