The Celebration of Science and Technology

This is Frankenstein's description of himself at the generator of the novel, and this sentiment runs throughout the entire opus of science allegory:

I believed myself destined for some great enterprise. My feelings are grave; but I possessed a coolness of judging that fitted me for illustrious achievements. This sentiment of the worth of my nature supported me when others would pay back been oppressed; for I deemed it criminal to throw away in useless grief those talents that might be useful to my fellow-creatures. When I reflected on the work I had completed, no less a one than the creation of a sensitive and rational animal, I could not rank myself with the herd of common projectors.

We see this patient of of hubris perhaps even more clearly in the domain of science fiction video, where the prototype of the mad scientist (mad because he - or very rarely she - has become obsessed with the possibility of creating a brave mod humanity in which the scientist through give-and-take and dedication can erase the mistakes of past societies.

This desire to bring about and govern beings is the fantasy not of the technophile, for all of the cool gadgets with which the world of science fiction is strewn.

Rather, it is the essential imper

Huxley, Aldous. Brave New World. New York: Perennial, 1998.

Scott, Ridley. (dir.) Blade Runner. Harrison Ford. Warner Brothers, (2003).

And the fundamental incorrupt of science fiction is that if we were actually to do so, that brave new world would be as frightening and as antipathetical to any truly humanistic impulse as was Huxley's world or the world depicted in Brazil. We have not in fact progressed very far if at all, and if we get down to create a new world it will scarce replicate and possibly exaggerate the flaws of past worlds rather than modify them.

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