Imagination

Imagination is like going down the rabbit hole. By the origin of the word it is picturing, imaging oneself. It’s a great ability of the human that can connect the different points and creates new ideas, images, concepts of external objects not present to the senses.

Contemporary area, which is governed by scientific taste, creates its narrative genre called science fiction.

From Jules Verne to Star Trek, science fiction has proven to be remarkably prescient in developing new technologies and shaping attitudes towards that technology. As a reminder, a promise of the science fiction requires material, physical, rationalisation rather than a supernatural or arbitrary. Material rather than the supernatural is its key attribution. However, it is hard to differentiate the well-developed technology from the supernatural. So let’s face the music. Isaac Asimov wrote about the connected library that everyone can access, in a short story called “From The ‘London Times’ in 1904, Mark Twain predicted the internet in 1898 when telephones were still a very novel form of communication. John Brunner also wrote about the many issues related to computer technology. One of the contemporary ways of communication has already written by Jelus Verne in 1889. Talking holograms do not only appear in the Star Trek, they become to come around. There was a voice-controlled computer in 2001: A Space Odyssey. Voice control has become mainstream software like Siri on the iPhone 4S. Besides, the first aeroplane television was seen in 2001: A Space Odyssey. Now you can see it anytime you take a flight. Cyberspace was the word from the Necromancer that was written by W. Gibson. Kurtzwell had already written that intelligence machine will win the chess match in 1990 before IBM’s Deep Blue won in 1997.


The Spielberg film A.I. was based on a Brian Aldiss story, “Super-Toys Last All Summer Long”.


The question of imaginary media is: What can be imagined, and under what historical, social and political conditions? What are the conditions for the media imaginaries of the modern mind and contemporary culture, and on the other hand, how do imaginaries condition the way we see actual technologies?(Parikka, 2012, What is Media Archeology pg 47)