Octavia Butler"s Science Fiction and Cosmocentric Mythology
Answering both “why” questions in science and “how” questions in literature, personifications connect both the secret of human desire and knowledge of the universe in a renewed context. In Peter Nicholls's depiction of the interactions of science and myth, “art and science dance in a complex sarabande and winged archetypes are confronted with mathematics.” In this cosmic dance, literary narratives are often determined and ruled by scientific law but at the same time they also transcend scientific limitations with Gnostic “mind‐bending” toward Ursuppe, the archetypal sea of knowledge. Here, as Erik Davis depicts, “technology is neither a devil nor an angel. But neither is it simply a 'tool'.” Rather, Davis defines technology as a trickster. Showing “how intelligence fares in an unpredictable and chaotic world,” the technological personifications are “mischievous, riddling, and cross‐wired.” They bump into actuality and create noise, wonder and chaos. But their blended spaces of science and literature are cognitively and rhetorically rich yet messy because they contain maximal information about differences. Understanding the archetypal Others and aliens inside the self as well as humans' relative relations with the universe is the way to reach the order hidden in chaotic technological personifications. The enacted myth in literature of science creates techno‐animism and tells about new liberating cosmocentric reality through its inherent philosophy of wholeness.
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