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They live free from economic necessity, so they devote their lives to science and justice. The chapter highlights how economic behaviours and psychology change under the post-scarcity. The eighth chapter deals with the Ferengi, an economically powerful alien species in the Star Trek universe, with an economy based on trade and capitalism. They ...
Portrayals of economics in film include the depiction of economic principles, themes, and concepts within cinematic narratives. Films often use economic elements as part of their stories, even when not explicitly focused on economics. Films can incorporate economic ideas into their narratives, often without the audience consciously recognizing ...
Lionel Robbins' Essay (1932, 1935, 2nd ed., 158 pp.) sought to define more precisely economics as a science and to derive substantive implications. Analysis is relative to "accepted solutions of particular problems" based on best modern practice as referenced, especially including the works of Philip Wicksteed, Ludwig von Mises, and other Continental European economists.
Economists consider “science” as the search and production of knowledge using known starting conditions. [2] Knowledge can be considered a public good, due to the fact that its utility to society is not diminished with additional consumption (non-rivalry), and once the knowledge is shared with the public it becomes very hard to restrict access to it or use of it (non-excludable).
Economics of the arts and literature or cultural economics (used below for convenience) is a branch of economics that studies the economics of creation, distribution, and the consumption of works of art, literature and similar creative and/or cultural products. For a long time, the concept of the "arts" were confined to visual arts (e.g ...
A Vice reporter stated that "Transcendence may be the first science fiction movie to present the [technological singularity in its current popular imagination", but that the film "falls to the necessities of Hollywood storytelling. Caster's transcended mind is eventually bested by a virus reverse-engineered from his 'source code', which is a ...
[38] Another important perspective to take is that fiction's “non-rational elements in the discourse (the emotive, the mythic, or even the quasi-theological) are more than simply distortions or distractions from what might otherwise be a sober and rational public debate about the future of A.I.” Fiction can dissuade readers about future ...
The late 19th century witnessed a new generation of writers, such as J.-H. Rosny aîné, utilizing science and pseudoscience for purely fictional purposes. [15] This marked a significant departure from their predecessors, who employed the conjectural element as a pretext, following in the footsteps of Savinian Cyrano de Bergerac's utopian, Jonathan Swift's satires, and Camille Flammarion's ...