This paper analyzes the ethical themes and theory portrayals by particular characters in Star Trek: Into Darkness. It is concluded that the film can be understood as explicating the pros and cons of both "male" and "female" ethical perspectives, and that a comprehensive understanding of morality requires some synthesis of both perspectives.

The Absolute, philosophized most saliently about by Georg Hegel, encompasses the entirety of reality. The absolute is composed of five dimensions – height, length, width, time, and justice. The five dimensions operate dialectically, and the normative values of reality inhere within the fifth dimension – hard, soft, moral, ethical, yellow, etc. ad infinitum. The normative values from the fifth dimension, in combination with the brain, comprise the human mind. With the issues of climate change, world-wide biosphere destruction, nuclear weapons, international (...) trade regimes, humanity has created the phenomenon of global politics – thereby changing the fifth dimension. The argument in this volume is that the broadcast iterations of Star Trek allow us to comprehend significant aspects of justice and the politics of globalism – created through the advent of science, technology, engineering, etc. The creators of Star Trek hold that nationalism is a psychological pathology and internationalism is rationality. (shrink)

Philosophy and space travel are characterized by the same fundamental purpose: exploration. An essential guide for both philosophers and Trekkers, Star Trek and Philosophy combines a philosophical spirit of inquiry with the beloved television and film series to consider questions not only about the scientific prospects of interstellar travel but also the inward journey to examine the human condition. The expansive topics range from the possibilities for communication among different cultural backgrounds to questions about the stoic temperament exhibited (...) by Vulcans to Ferengi business practices. Specifically chosen to break new ground in exploring the philosophical dimensions of Star Trek, these articles boldly go where no philosopher has gone before. (shrink)

In 1966 Gene Roddenberry, then a relatively unknown TV writer, created what was to become a cultural sensation. From cell phones and tablets, to MRI machines and medical jet injectors, Star Trek has undoubtedly anticipated much of the technology that we take for granted today. Moreover, the disagreements, fights and jokes between Captain Kirk (William Shatner), Dr Leonard ‘Bones’ McCoy (DeForest Kelley) and Mr Spock (Leonard Nimoy) were expertly crafted for dramatic impact. But I’m not writing this to (...) confess to you my obsessive infatuation with the Star Trek universe. Instead I want to discuss how the beliefs and practices of Vulcans like Spock are similar to those of the Stoic school of philosophy. (shrink)

This book examines how humanity faces the absence of a coherent, universal conception of justice. By analyzing Star Trek, this book argues that in order to obtain true democracy and justice the productive forces of society must be geared toward achieving a thriving society, the whole individual, and the ecology.

For 50 years, Star Trek has been an inspiration to its fans around the world, helping them to dream of a better future. This inspiration has entered our culture and helped to shape much of the technology of the early 21st Century. The contributors to this volume are researchers and teachers in a wide variety of disciplines; from Astrophysics to Ethnology, from English and History to Medicine and Video Games, and from American Studies to the study of Collective (...) Computing Systems. What the authors have in common is that some version of Star Trek has inspired them, not only in their dreams of what may be, but in the ways in which they work - and teach others to work - here in the real world. Introduced with references to Star Trek films and television shows, and illustrated with original cartoons, each of the 15 chapters included in this volume provides insights into research and teaching in this range of academic fields. (shrink)

It has been suggested that Gene Roddenberry, the creator of the original Star Trek series (TOS), more or less consciously built the equivalent of a philosophical argument in favor of Stoic philosophy by centering his story lines on the interacting and exquisitely complementary characters of Mr. Spock, Captain Kirk, and Doctor McCoy. Spock in particular was apparently purposefully meant by Roddenberry to represent Stoicism as he understood it. Modern practitioners of Stoicism, however, tend to see Spock as a (...) “stoic” (lower-s) in the vernacular sense of the term: going through life constantly sporting a stiff upper lip and suppressing his emotions. I argue in this chapter that, on the contrary, the evolution of Spock from the young officer serving on the Enterprise NCC-1701 to ambassador to the Romulans in the last movie based on TOS can be understood as the story of someone entering the path to sagehood in the Stoic sense. And yes, Stoicism definitely is about far more than stiff lips and the suppression of emotions. (shrink)

Science fiction fandoms tend to contain significant numbers of fans who feel angry and resentful about the handling of the franchise they are fans of, because of the stories the franchises owners have told. The paper addresses the question of when, if ever, such anger and resentment are justified. Special attention will be paid to Star Trek fandom, but other fandoms will be considered, including those for Star Wars and Doctor Who. Various proposed justifications for anger and (...) resentment will be considered, including that franchise owners have misled fans about the stories they would tell, have wasted opportunities to produce good art, have reduced the value of older art, have engaged in a form of cultural appropriation by repurposing old characters, have caused needless offense of a sort akin to the offense of religious sensibilities, have offended against the principle of utility, and have taken advantage of unjust copyright laws. The paper does not champion a conclusion about when, if ever, fan anger and resentment are justified. However, it is concluded that, contrary to what is often assumed, it is not obvious that fan anger and resentment are always unjustified, and so fan anger and resentment cannot always be dismissed out of hand. (shrink)

Star Trek scripts have often grappled with dilemmas of medical ethics. The most explicitly medical-ethics-oriented Star Trek episode is named, aptly enough, “Ethics.” The script was written by Sara Charno and Stuart Charno, authors of two other Star Trek episodes. “Ethics” first aired on 2 March 1992. In the fall of 1992, we began to use this “Ethics” episode to motivate discussions in our first-year medical students’ course on medical ethics and the doctor-patient relationship. (...) We asked students to write essays addressing one of the many ethical dilemmas posed by the episode. Over the years, the episode has become a tradition. Both students and instructors find the formulation of dilemmas in the context of a science-fiction story to be both liberating and stimulating. In this essay, we will discuss this particular episode in some detail and then provide a brief synopsis of other episodes that might be used in ethics courses in a similar way. (shrink)

Freud divided people in three libidinal types: narcissist (doer), obsessional (thinker), and libidinal (lover). Kirk (narcissist), Spock (obsessional) and McCoy (libidinal) complemented each other, giving the show depth and balance.

This chapter reviews Star Trek's course in wrestling with issues of political and social secularization. Any debate about secularization is a set of arguments about the best relationship between religious beliefs and institutions on the one hand, and political, social, and economic structures on the other. The chapter provides several moral arguments as to why liberal democracies like the United States should pursue greater secularism in the future. A popular but particularly unhelpful way of framing this debate is (...) in terms of religion versus reason. Deep Space Nine is the Trek series in which one society's religious interests and the Federation's secular commitments create the most friction. Some characteristics of religious thinking are quite antagonistic to political principles of a liberal democracy. Long since grown out of the antagonistic Roddenberry attitude toward religion in the public sphere, secularism in the Star Trek series reminds the human adventure is just beginning. (shrink)

Reunites the editors of Star Trek and Philosophy with Starfleet’s finest experts for 31 new, highly logical essays Features a complete examination of the Star Trek universe, from the original series to the most recent films directed by J.J. Abrams, Star Trek (2009) and Star Trek Into Darkness (2013) Introduces important concepts in philosophy through the vast array of provocative issues raised by the series, such as the ethics of the Prime Directive, (...) Star Trek’s philosophy of peace, Data and Voyager’s Doctor as persons, moral relativism and the Federation’s quest for liberation, the effect of alternate universes on reality and identity, the Borg as transhumanists, Federation Trekonomics, Star Trek’s secular society, and much, much more...! An enterprising and enlightening voyage into deep space that will appeal to hardcore fans and science fiction enthusiasts alike Publishing in time to celebrate the 50th Anniversary of the original TV series. (shrink)

Henrik Hansemann, Star-Trek-Experte und früherer Chefredakteur des deutschen Fanportals Treknews.de, sucht und findet Antworten auf Fragen der Logik, Ethik und Moral, die sich im Star-Trek-Universum stellen - immer fundiert und durchweg unterhaltsam. In "Die Philosophie bei Star Trek" werden zum Beispiel folgende Fragen beleuchtet: - Kann es irdische Existenzen zwischen den Sternen überhaupt geben? - Welche Auswirkungen hat das Leben im Enterprise-Universum auf die menschliche Gesundheit und auf die moderne Medizinethik? - Ist Beamen tatsächlich (...) möglich und was würde beim Beamen mit der Seele geschehen? - Wie geht Star Trek mit den Themen Tod, Jenseits und Auferstehung um? - Welche philosophischen Überlegungen stecken hinter der ethnischen und linguistischen Vielfalt des Star-Trek-Universums und wo sind die Grenzen des Universalübersetzers? - Wie realistisch sind die in Star Trek gezeigten technologischen Erfindungen und welche Fragen ergeben sich daraus für unser Verständnis von uns selbst - vom Menschen und seinem Wesen? - Ist eine vermenschlichte Maschine überhaupt noch eine Maschine? - Was ist das Q-Kontinuum und warum hilft es der Besatzung der "Enterprise" in Notsituationen? "Die Philosophie bei Star Trek" beleuchtet auf spannende und humorvolle Weise die Fernsehserien und zahlreichen Kinofilme rund um Kirk, Spock & Co. (shrink)

This volume explains how Star Trek allows viewers to comprehend significant aspects of Georg Hegel's concept the absolute, the driving force behind history. Gonzalez, with wit and wisdom, explains how Star Trek exhibits central elements of the absolute. He describes how themes and ethos central to the show display the concept beautifully. For instance, the show posits that people must possess the correct attitudes in order to bring about an ideal society: a commitment to social justice; (...) an unyielding commitment to the truth; and a similar commitment to scientific, intellectual discovery. These characteristics serve as perfect embodiments of Hegel's conceptualization, and Gonzalez's analysis is sharp and exacting. George A. Gonzalez is Associate Professor of Political Science at the University of Miami, USA. He specializes in the fields of political theory, popular culture, and environmental politics and policy. In the areas of popular culture and political theory he has published two articles in the journal Foundation: The International Review of Science Fiction, as well as the book The Politics of Star Trek: Justice, War, and the Future. (shrink)

This text gives a critical account of various, often conflicting interpretations of slash fiction - stories based on characters from popular TV show, The Star Trek, written by fans. What makes slash fiction, a subgenre of fan fiction, specific is a homoeroticization of characters that in the original narratives are either explicitly or implicitly heterosexual. Whether such?homoerotic pairing? has any foundation in the original Star Trek narrative, remains an open question. Answers to this question vary greatly. (...) An affirmative answer, however, begs a further question: whether these narratives are?homosexual representations? in a strict gay/lesbian sense? The authors propose that slash represents a non-hegemonic narrative which transgresses borders set up in the original narrative - queering, reexamining thus both sex and gender. (shrink)

Themes of peace and violence arise throughout the Star Trek canon. Indeed, Star Trek reveals a sweeping understanding of the multiple dimensions and issues related to peace studies, including explorations of various forms, causes, and justifications of violence, along with alternatives to violence. Peace, understood as freedom to pursue opportunities and not merely as freedom from violence, is intimately related to justice. Any genuine attempt to understand and promote peace requires addressing issues of injustice as both (...) a form and cause of violence. In exploring the nature of peace, it is useful to comprehend the connections among conflict, violence, and force. Violence seems to be universal, and efforts to eliminate it seem futile. Examples of choosing not to kill or engage in violence belie the claim that violence is natural for humans. Indeed, Star Trek is replete with examples of how to respond to violence in nonviolent ways. (shrink)

Professor Richard Hanley faced the dilemma plaguing so many philosophy professors today—how to entice students into the classroom. Based upon his own successful course, Is Data Human presents a thoroughly unique and enjoyable way of introducing students to the basic concepts of philosophy as seen through the lens of Star Trek. From the nature of a person, of minds, and of consciousness, to ethics and morality, to the nature and extent of knowledge and free will, Hanley brings a (...) fresh perspective to the contemporary debates concerning humankind’s place in the world.Dare to boldly go where no philosophy professor has gone before—a classroom packed with eager and enthusiastic students. (shrink)

Star Trek creator Gene Roddenberry's humanism is well known. While it may be that the inclusion of talk about gods reflected the interest in religion in his own time, the way that the show talked about gods reflects a humanist theology that's at least compatible with, and perhaps an expression of, Roddenberry's own vision. If the relationship of Star Trek to humanism has been unambiguous, its relationship to, and view of, posthumanism is less clear. Posthumanism can (...) refer to the notion that an all‐embracing ethos of the kind offered by humanism ought to be reconfigured to incorporate other beings besides terrestrial ones. If compassion is the defining attribute of a god, then Star Trek's humanist theology encourages not only to believe that divinity is a real possibility for humanity in the future, but also to recognize it as a possibility in the present. (shrink)

Philosophers and other thinkers have pondered tough questions about the nature of reality for thousands of years. Now, science seems to be discovering increasing support for this ancient concept, and Star Trek's holodeck technology offers great insights into understanding both old and new theories about what's real. The accumulation of data over the last twenty‐five years from a variety of scientific fields reveals that the reality seems to be holographic in nature. On the holodeck, there are two types (...) of people: players, like Data pretending to be Henry V or Sherlock Holmes, and non‐player characters (NPCs), holographic people created to interact with the players. Traditional mystical approaches offer the examples of prophets, saints, and saviors as similar to these holocharacters, with some traditions even providing teachings and techniques for individuals who seek to overcome their own holoprogramming. (shrink)

A discussion of José-Antonio Orosco’s new book, Star Trek’s Philosophy of Peace and Justice: A Global, Anti-Racist Approach. Orosco has been finding wisdom in Star Trek episodes since he watched late night reruns with his mother. Then, recently, in honor of the 50th anniversary of Star Trek’s debut, Orosco began to teach the series as source material for peace philosophy. Philosophical concepts can be brought to bear on Star Trek stories; but Orosco (...) argues that the stories also assert philosophical meanings that are instructive to peace studies. Martin Luther King Jr. was a fan of the first season, famously encouraging the late Nichelle Nichols (1932-2022) to persist in the role of Nyota Uhura after she had decided to resign. In our book discussion, Orosco centers the importance of Critical Race Theory as a tool for exploring Star Trek’s presentation of peace and justice. Andrew Fiala questions Orosco about Star Trek’s militarism. Jennifer Kling asks how the treatment of refugees intersects with Starfleet’s Prime Directive, which commands noninterference with intergalactic populations. (shrink)

This paper focuses on salient features and benefits of the assimilation of popular culture into classroom discussions in philosophy courses with students of diverse backgrounds. Specifically, the author accounts for the pedagogical success of the incorporation of Star Trek episodes, as a hermeneutical tool, into the curriculum. Each episode provides a forum for students to comprehend the timeless character of philosophy and persistent problems in the history of philosophy. The varied philosophical themes explored in each episode also provide (...) students with a general introduction to a wide variety of philosophical issues and topics ranging from metaphysics, epistemology, ethics, aesthetics and politics. (shrink)

As with many science fiction works, the Star Trek franchise uses allegory to address contemporary social issues. Taking a liberal humanistic stance, it addresses race and racism using aliens as allegorical stand-ins for humanity. However, the producers of the Star Trek franchise were inadvertently perpetuating the racism they were advocating against. Operating within the framework of normative Whiteness, the producers privilege the White American male as the average human being. The characters of other racial and cultural (...) backgrounds try to assimilate into the normative Whiteness defined by the producers or they are simply in the background to support the White lead characters. By drawing on previous work on the original series and The Next Generation, this article examines episodes from Deep Space Nine, Voyager, and Enterprise to determine how the Star Trek franchise reinscribes, or sometimes destabilizes, the mode of racial and cultural homogeneity assumed by the producers. (shrink)

Discutir a potencialidade imagem em movimento no ensino de Filosofia e a compreensão do filme como discurso significante, conjugando as experiências desenvolvidas em pesquisas e sala de aula. Apresentar também recortes de disciplina ministrada que utilizou textos filosóficos e episódio de StarTrek Deep Space Nine. O filme é entendido como texto fílmico, um objeto em cuja materialidade estão inscritos diferentes códigos da linguagem cinematográfica, e como documento informacional, que comporta diferentes níveis de informações que necessitam ser reconhecidas e trabalhadas, a (...) fim de que o uso pedagógico seja satisfatório. Assim, para além do entretenimento, o texto fílmico tem a possibilidade de ser usado como recurso pedagógico e de análise social. Observa-se como constitutivos do universo Trek os filmes realizados para o cinema e as séries televisivas. (shrink)

Utilitarianism is the theory that whether an action is morally right or wrong depends entirely on how beneficial or harmful it will be for everyone involved, only the net balance of benefit and harm matters. Most utilitarians believe that the only thing valuable in itself is happiness, and the only thing bad in itself is suffering; so, to maximize utility is to maximize happiness and minimize suffering. Utilitarians would be baffled by the common Vulcan view that emotions are best gotten (...) rid of. According to utilitarianism, the duty to put the needs of the many ahead of the needs of the few extends even to people one has personal relationships with, like friends and family. The protagonists of the Star Trek franchise would seem to agree, as they generally place personal loyalty over public duty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Utopian Enterprises: Growing Up with Star TrekMark Jendrysik (bio)It might be hard to imagine today, when new Star Trek entertainment product seems to be everywhere, that there was once a time when Star Trek meant the seventy-nine episodes of the original series and nothing else. And it might be hard to imagine a time when episodes of a television series had to be watched (...) at one particular time, with no guarantee those episodes would ever be seen again—before the VCR, before streaming, when you had to race home and not miss a moment of the program. When Star Trek came on at 4 p.m., I sat glued to the TV, hoping my mother wouldn’t call me to dinner until 5. You might also remember telling friends who missed the program about the plot and experiencing the Rashomon effect as debates raged about what happened or did not happen on the show the afternoon before.In this article, I try to reconstruct the experience of watching Star Trek (“the Original Series,” or TOS, not that we called it that) for the first time as a child in the mid-1970s. This will be a reconstruction in Margaret Atwood’s sense of the term. I cannot at this distance of time be certain that my recollections have not been modified with the knowledge of years, or by a desire to make the experience of Star Trek perhaps more central to my life than it [End Page 359] was at the time. I will also reflect on Star Trek as a utopian and anti-utopian artifact. I do this because it seems to me that the Original Series has become the object of various caricatures that don’t do justice to the complexity and ambiguity of the program.Sci-fi in a Simpler Time?I ask you, if you are old enough, to cast your mind back to a time when Star Trek was not a multiplatform cultural juggernaut. I was born in 1964 and, perhaps predictably, I was enthralled by the space program as a child. After all, I grew up in the waxing years of the space race, just after Alan Shepard made his orbit around Earth. I was five years old when Neil Armstrong made his famed walk on the moon. The moon landings and Skylab missions provided hours of respite for my mother, too, as I sat glued to the television listening to Walter Cronkite’s calm voice. I read issues of National Geographic about the space race until they fell apart. I read all the books in my school’s library about space. A picture book with an introduction by Werner Von Braun showing future space habitants seemed to present an obvious future path for humanity.1 My friends and I were firmly convinced that one day, and soon, we would go live and work in space!By the early 1970s I had become a big fan of science fiction. In that simpler time sci-fi meant my Uncle Tom’s collection of anthologies that he had left at my grandmother’s house. On many afternoons in her sunroom, I tried to work through stories that were more than a little above my reading level. Poul Anderson’s story “The Queen of Air and Darkness” (1971) made a particularly strong impression on me in its treatment of colonialism and resistance (not that I would have used those terms at the time). Isaac Asimov’s Y/A2 book series Lucky Starr: Space Ranger (1952–58) was another favorite. I was enthralled with the stories set on Mars, Venus, and across the solar system. When I met the author in 1974, he seemed embarrassed by my love of these fairly slight works that he had published under the pseudonym “Paul French.” When I asked him to sign one of my “Lucky Starr” books, he laughed and said something like “those were a long time ago.”Sci-fi also meant movies that showed up on our local independent television stations, often as part of programs with titles like “Sunday Adventure Theater.” My friends and I became quite the connoisseurs of various voyages to the... (shrink)

Clears up misconceptions about irrationalism and looks at madness, dreams, laughter, genius, imagination, altered states, and emotions.

Star Trek is fundamentally about the triumph of the human spirit. Star Trek envisions a future in which humans have put away their petty differences to explore the cosmos, supported by an egalitarian society founded on the dignity of individuals and the loftiness of the human spirit, all the while boldly moralizing through progressive ideas. While exploring a hypergiant star, the Enterprise encounters the ship of an unknown species: the Vissians, which has a third gender, (...) called a cogenitor. Philosophers such as Immanuel Kant and Plato imagine morality as timeless and changeless, something that any rational being can understand. Vice and virtue may be compared to sounds, colors, heat and cold, which, according to modern philosophy, are not qualities in objects, but perceptions in the mind. Hume believes that facts and values are always separate things. (shrink)

Star Trek is a series of philosophical thought experiments that challenges viewers to arrive at consistent positions about some of life's toughest questions. It isn't an exaggeration to say that, with very few exceptions, Star Trek has done more to teach audiences about the nuances of reality, science, morality, and friendship than any other show in the history of television. Casuistry is a method of analysis that makes use of case studies, either real or fictional; in (...) order to examine what should happen in similar real‐life situations. The combination of science and fiction creates three virtues that Star Trek's creative team pushes to their boundaries in order to constantly engage viewers to be active watchers and thinkers. This chapter considers two prime examples of Star Trek's use of casuistry to make tangible contributions to important philosophical discussions. (shrink)

In a Star Trek: The Next Generation episode, Cpt. Picard is captured and trapped on a planet with an alien captain who speaks a language incompatible with the universal translator, based on their societal historical metaphors. According to Shapiro (2004), the concept of a universal translator removes everything alien from alien languages, and since the Tamarian language refers only to their historical and cultural archetypes, Picard can only establish dialogue by invoking human analogues, such as Gilgamesh. The purpose (...) of this paper is threefold. First, we will tie such communication to standard cognitive models in cognitive linguistics, pioneered by Lakoff and Johnson (1980) and Lakoff (1987). Second, we will show that metaphorical imaging resembling the Tamarian language is already present in our culture, by analyzing Dawkins's (1982) notion of a meme, who presupposes that memes as cultural living structures physically reside in the brain, and comparing that to a common format of a meme in pop culture. We will also contrast this concept with living natural languages such as Wolaytta, using a great number of proverbs, which can be seen as desemanticized metaphors that are used to embody different domains of the social realm of life (Make et al. 2014). Third, we will compare the notion of such a language with the current state of machine-learning and deep-learning techniques for natural language processing of metaphorical phrases, pinpointing that even deep learning today is powerless without sufficient training datasets (cf. Perifanos et al. 2020) or specific known word contexts and embeddings (Rei et al. 2017), compared to the same situation the universal translator was faced with when dealing with the Tamarian language. (shrink)

Star Trek is a successful popular cultural endeavor because it allows for exactly different kind of imaginative escapism, the possibility of joining in on an alternative narrative. In “The City on the Edge of Forever”, the Enterprise orbits a mysterious planet, where on its surface someone or something is causing temporal and spatial displacement. This chapter uses Romanticism as a philosophical gateway to the sublime experience that is the Guardian of Forever. The Guardian of Forever is the cause (...) of the spatial displacement and ripples in time that shake the Enterprise at the episode's beginning. Friedrich Nietzsche in his writings on Greek history, adopted the Romantic attitude toward the past by suggesting there are certain meaningful archetypes in the Greek past: in the context of “City on the Edge”, James T. Kirk represents the Tragic Hero, Spock the Apollonian figure, and McCoy the Dionysian figure. (shrink)

Within the body of Star Trek television series and movies, the concept of personhood stands out in one particular episode that may just be the best episode ever. Its title, “The Measure of a Man”, evokes the famous saying by Greek pre‐Socratic philosopher Protagoras, who claimed, “Man is the measure of all things”. The moral personhood of both Pinocchio and Data really comes from within rather than because of a legal decision: they both learn to be brave, truthful (...) and unselfish, and with conscience as their guide, a moral measure of a human. Immanuel Kant suggests that a truly moral action is one based on a principle that one can frame as a universal moral principle for everyone to follow, every truly moral action implies a duty. Kant anticipated Data's situation, arguing that any rational being should be treated as an end in himself or herself. (shrink)

Star Trek becomes an ideal vehicle for modern narratives exploring the nature of being human in a technological age. In its fifty years of robots, androids, cyborgs, and alien others on the small and big screens, Star Trek has played a function not unlike that of Greek myth. Whether dealing with Greek gods such as Apollo, salt‐craving beasts and Hortas, or hive minds and androids, Star Trek fashions moderns’ myths that provoke reflection on what (...) it means to be human and transformations that either preserve or destroy one's humanity. It is seen that the feminist model in the long processes of development of the android Data, liberated Borg drone Seven of Nine, and Voyager's holographic Doctor, and their struggle to understand, if not finally attain, humanity. As children who were insufficiently socialized into their own families, these three characters face the difficult task of reconstituting families aboard Enterprise or Voyager. (shrink)

In the beginning of Star Trek Into Darkness, Mr. Spock descends into the heart of a raging volcano on the planet Nibiru. His mission: to detonate a cold fusion device that will solidify the bubbling magma before it erupts and destroys an entire civilization. Meanwhile, Captain James T. Kirk is on the bridge of the Enterprise facing a dilemma. He's duty‐bound never to violate the Prime Directive. One way to address the problem of the Prime Directive is to (...) follow the criteria used by Vulcans: reason and logic. This approach has been highly revered in the history of moral philosophy, and was most convincingly articulated by Immanuel Kant. Confucius and Aristotle would agree that while the Prime Directive is usually correct, there will be cases where it's wrong not to break it. The Prime Directive symbolizes just how difficult making good moral decisions can be. (shrink)

The Abolition of Man, C. S. Lewis's masterpiece in ethics and the philosophy of science,warns of the danger of combining modern moral skepticism with the technological pursuit of human desires. The end result is the final destruction of human nature. From Brave New World to Star Trek, from Steampunk to starships, science fiction film has considered from nearly every conceivable angle the same nexus of morality, technology, and humanity of which C. S. Lewis wrote. As a result,science fiction (...) film has unintentionally given us stunning depictions of Lewis's terrifying vision of the future. In Science Fiction and the Abolition of Man: Finding C. S. Lewis in Sci-Fi Film and Television, scholars of religion, philosophy, literature, and film explore the connections between sci-fi film and the three parts of Lewis's book:how sci-fi portrays "Men Without Chests" incapable of responding properly to moral good, how it teaches the Tao or "The Way," and how it portrays "The Abolition of Man.". (shrink)

Of all the crew to serve on a starship Enterprise, none has had such a convoluted line of existence as the venerable Mr. Spock. This chapter explores what the various incarnations of Mr. Spock can tell us about the nature of reality, existence, and personal identity. Lewis argues for the metaphysical theory of modal realism: all possible worlds are as real as the actual world. In science fiction parlance, this philosophical concept of world is more often called a universe. Thus, (...) Earth and Vulcan are both part of the same world depicted in Star Trek. The central question Lewis addresses is whether our world is the only real world, or whether other possible worlds could also be considered real. Lewis argues for the metaphysical theory of modal realism, all possible worlds are as real as the actual world. (shrink)

In this book the main emphasis is twofold: on autonomous machine intelligence, and on mind uploading. This chapter shows that, while science fiction (SF) has depicted the extreme embrace of the “prosthetic impulse,” most notoriously in Star Trek's“Borg,” this is used as a warning of the potential Faustian consequences of such tendencies. The Star Trek franchise has also highlighted the converse, the Pinocchio syndrome, a reverse prosthetic impulse, most notably in the android Commander Data. Data is (...) a sentient android and a full member of the Enterprise starship crew in Star Trek: The Next Generation. The inverse of the Pinocchio syndrome, the prosthetic impulse, is arguably exemplified by Star Trek's Borg, who constitute a relentless inhuman tide that threatens to overwhelm every species violently, assimilating all individual beings into the Borg collective, stifling their lan vital and incorporating them as part of a hive mind, with an inexorable “insect mentality”. (shrink)

This chapter considers simpler prototype of a Star Trek transporter: a matter‐energy‐matter (MEM) converter. The MEM converter works in three stages. First, it scans an object and records the positions and states of all of the fundamental physical particles that compose it. Second, the converter disintegrates the object. Third, it assembles an exact replica of the object by repositioning fundamental physical particles according to the record it created during its original scan. Constitutionalism is an exciting theory that is (...) the basis for many Star Trek episodes. But it faces the fission problem, which Commander Riker experiences first hand in second chances (TNG). If survival is just as good as identity, then even if the human who comes out of the transporter isn't really the human who went in, the replica is still indistinguishable from that human. (shrink)

The people in utopias have many characteristics Abraham Maslow said self‐actualized people have: they're accepting, spontaneous, creative, appreciative of life, honest, responsible, and hardworking; they even maintain deep relationships and have childlike wonder. In Star Trek: Mission Log, Ken Ray defends life under the care of Norman's androids on Mudd's planet as preferable because of its possibilities for self‐actualization. Self‐actualization is impossible unless the basic biological, safety, and social needs are met, all of which the spores and Vaal (...) guarantee. The spores even saved the colonists’ lives. Once one achieves self‐actualization, it's easy to pity those who can't attain it; but for those who struggle just to survive, giving up safety and security for an unlikely chance at self‐actualization would seem crazy. The criticisms of Vaal seem to echo the criticisms of communism, and the control a communist government must exercise in providing for its people. (shrink)

The most advanced life‐forms in the Star Trek universe are portrayed as incorporeal beings: creatures who either don not have bodies or at least are not bound to any physical forms they might assume. Any dynamic network of experience is an organism. The concept of organism applies to more than just biological entities, crystals and planets are also structured societies. The broadest possible background for all activity in the universe is the extensive continuum, more expansive even than the (...) Q Continuum. Q is capable of manipulating matter and energy, and of traveling throughout time and space, without any obvious limits. The Organians bear some resemblance to the Q. One of their characteristic features is a self‐professed aversion to violence and the experience of pain. Like the Q, they structure their society to minimize interaction with, and thus contamination by, the physical and emotional influences of embodied species. (shrink)

In this essay, I argue that popular entertainment can be understood in terms of Husserl’s concepts of epochē, reduction and constitution, and, conversely, that epochē, reduction and constitution can be explicated in terms of popular entertainment. To this end I use Husserl’s concepts to explicate and reflect upon the psychological and ethical effects of an exemplary instance of entertainment, the renowned Star Trek episode entitled “The Measure of a Man.” The importance of such an exercise is twofold: to (...) demonstrate, once again, the fecundity of the methodological procedures Husserl bequeathed to us; more than any other philosopher, he tapped into the fundamental manners in which we lose, make and remake the meanings of our lives; and to demonstrate how popular entertainment, similarly, plays a central role in the making and remaking of the meanings of our lives. If my zig-zag procedure between Husserl’s philosophy and popular entertainment is productive and cogent, in addition to elucidating Husserl’s philosophy, it will demonstrate the reality-generating potency and the constitutive power of entertainment in the contemporary world. Entertainment, via ourselves, has become the primary producer of the meanings via which consciousness constitutes the world. (shrink)

An essential motif of the Western is the frontier in which people of European descent encounter American Indians as other. Indians were viewed as bloodthirsty savages, despite the fact that Europeans were the primary aggressors. The bloodthirsty savage stereotype finds intellectual support in the political philosophy of Thomas Hobbes. Governance in most traditional North American Indian communities isn't about ruling over subordinates, but about forging consent among equals. Indigenous government was often based on equal respect for the values and sovereignty (...) of each member of the community. The Federation embodies Star Trek's vision of multicultural liberalism. The history of Western philosophy has placed masculinity in dominance and control over femininity. This breeds a culture of violence and disharmony and people in need of healing. People of European descent are infected by this history in need of the thawing warmth of the South and a vision that harmonizes masculinity with femininity. (shrink)

Citizens have two mutually exclusive options: they can exile, or even execute, a god among men, or they can submit to superhuman monarchy. Aristotle thinks any state would choose the former, but finds the latter option superior and argues the citizenry should submit to the superhuman monarch because that is precisely what ideal citizens would do if such a being appeared in their society. This problem appears in great cinema and nowhere more powerfully than in J. J. Abrams's Star (...) Trek and Star Trek Into Darkness with the character of James T. Kirk. In his Nicomachean Ethics, Aristotle describes a man he calls the megalopsychos, the great‐souled man or proud man. Aristotle defines the two solutions to the problem of greatness, exile or monarchic rule, as mutually exclusive, but Kirk is able to progress from exile on Delta Vega to the captain's chair, the former seeming necessary for the latter. (shrink)