Introduzione Science Fiction - Corso Teorie del Ragionamento 2014-15

a.a. 2014-15, Logica – Emiliano Ippolitia.a. 2014-15, Logica – Emiliano Ippoliti

Logica e Science FictionLogica e Science Fiction

[1. science fiction, filosofia e logica]

dove siamoqual è il nostro posto nell’universo

science fiction

cosa è?

perchè la uso?

cosa è?

science fiction is a literature of ideas. […] at the fundamental level, this genre explores the human

condition—what it is and what it might become—while pushing us to consider what lies beyond the

horizon of the present

Nichols – Smith – Miller, p. 1

Thought Experiments: Science Fiction as a Window

into Philosophical Puzzles

S. Schneider “Science Fiction and Philosophy.”

thought experiments are imagination’s fancies; they are windows into the fundamental nature of things. A philosophical thought experiment is a hypothetical

situation in the “laboratory of the mind” that depicts something that often exceeds the bounds of current technology or even is incompatible with the laws of

nature, but that is supposed to reveal something philosophically enlightening or fundamental about the

topic in question

S. Schneider “Science Fiction and Philosophy”, p. 23-4

science fiction stories revolve around un encounter with something that is essential alien or other to us.

confronting this otherness is like having a mirror held up in front of our faces—it can let us see and

understand ourselves all the more clearly. this is the intellectual underpinning of sci-phi—we come to

understand ourselves through seeing our reflection in what is, superficially, very different from us.

M. Rowlands, p. vii-viii

lo spazio e l’altro

spazio può essere oggettivato, interpretetato ed eseplorato in vari modi

spazio interiore

spazio logico

spazio epistemico

spazio temporale

lo spazio, l’alieno possono essere fuori di noi

lo spazio, l’alieno possono essere dentro di noi

lo spazio profondo come proiezione dello spazio interno dell’essere umano,

teatro interno e specchio della sua psiche e anima

psicologia e fantascienza

la più antica e potente emozione umana è la paura,

e la paura più antica e potente è la paura dell’ignoto

Lovecaft, L’orrore soprannaturale in letteratura

la fantascienza risveglia in noi le zone d’ombra piu’ remote, le paure piu’ ancestrali, le essenze piu’

diaboliche della nostra anima

A. Carotenuto

L’ultima medusa. Psicologia della fantascienza, p. 23

questo mondo diverso, che però ci appartiene, è esattamente il nostro inconscio, la parte sommersa dell’iceberg della nostra personalità. alla nostra vita

psichica cosciente corrisponde infatti un abisso, uno spazio profondo e sconosciuto che, se da una parte temiamo perchè frontiera dell’ignoto, del tenebroso, dall’altra aneliamo come immagine di una nostalgica

ricongiunzione.

Carotenuto, L’ultima medusa, p. 30

tema: interno/ esterno

l’uomo invece conosce ben altre paure, ha ben altri incubi, perchè lui si sente minacciato non solo nella usa incolumità fisica, ma anche nel suo equilibrio psichico. l’uomo, tra tutti gli esseri viventi, è l’unico che si sente

minacciato da se stesso, cioè dall’interno

Carotenuto, L’ultima medusa, p. 31

scienza - fantascienza

fantascienza svela il lato oscuro della scienza

il fallimento della scienza nell’offrire benefici alla popolazione povera negli ultimi decenni è dovuta alla combinazione di due fattori: la ricerca pura è sempre

più distaccata dai bisogni reali dell’umanità,

mentre la ricerca applicata è sempre più attaccata al profitto immediato.

Dyson, Mondi Possibili, pp. 116-118

distinzione science fiction / fantasy

this genre explores the human condition—what it is and what it might become—while pushing us to consider what lies beyond the horizon of the present. Science

fiction accomplish this in part through crafting alternative worlds. as a rule, alternative worlds in SF

conform to the law of nature and do not use supernatural solutions to resolve conflict within the plots of the stories. this distinguish the genre from

fantasy literature. […] some members of ths SF community describes fantasy authors as “playing tennis

without the net” Nichols – Smith – Miller, p. 1

generally, both SF and fantasy are about things that physically cannot happen, or at least cannot happen at

the current stage of technological ability. fantasy is (usually) set in an imaginary past while SF is (usually)

set in an imaginary future. Fantasy uses magic (however that is defined), while SF generally uses

advanced technology. But this isn’t as easy a dividing line as we might like: magic and technology blend into

each other following Arthur C. Clarke’s Third Law: “any sufficiently advanced technology is

indistinguishable from magic”.

the difference between SF and fantasy, then, might only be that in most SF there’s at least an attempt to

explain the advanced technology in terms of the actual laws of physics and chemistry. This isn’t always the

case, as with the myriad of stories that require faster-than-light travel and do so with a little hand-waving

and invocation of things like “Horst-Conrad Impellers that clutch at the very fabric of spacetime.” But in

general, what makes something SF rather than fantasy is the future setting and the attempt to link up with the

known laws of physics and chemistry

Michael D.C. Drout , p.5-6

perchè la uso?

relazione e intersezione

logica, filosofia, sceince fiction

un modo di rispondere a questa domanda

condizione umana

assurdo

the idea of absurdity revolves around a clash of two perspective we have on ourselves—a view from the

inside and a view from the outside

M. Rowlands, p. 2

on one hand (inside)

each of one of us is at the centre—we are the major character, the figure around which the plot revolves. we therefore matter to the story. we are, each one of

us, a locus of meaning, a core of significance.

M. Rowlands, p. 4

on the other hand (outside)

we realise that there is another side to us, consequently, anther story to be told.

M. Rowlands, p. 4

on the other hand (outside)

we realise that there is another side to us,

consequently, another story to be told.

M. Rowlands, p. 4

interno / esterno

tipica situazione in cui questo emerge?

sogno

absurdity not only permeates the whole of human existence, it also lies at the core of philosophy

and its problems

M. Rowlands, p. 3

anche in filosofia e logica

assurdo