YARN
Fleet Captain
Treknologists are concerned with describing, interpreting, and evaluating technologies present in Trek narratives. Basically, what is it?, how does it work?, and is it worthy of suspension of disbelief?
These concerns are complicated by the fact that Trek has been around for 40+ years. Science fiction tends to have a short shelf life in terms of its technological conceits.
Evaluation suffers first, and most severely. Analogue gauges made sense in 1969, for example, but are now something of an embarrassment. Interpretation along the lines of "How does this (allegedly) work?" suffers too. Anachronism creeps into the picture. In TOS, the writers had absolutely no concern about Heisenberg Compensators, because they never really scrutinized the necessary physics of teleportation. TNG rewrites Trek's history a bit to make fantasy elements more believable. And when was it and where was it that it was decided that those nacelle caps were "Bussard Collectors?" Even description of Treknology, given enough time, might become confusing (think of reading Shakespeare's works).
The default assumption of technology in science fiction is that we are talking of how things function in relation to our epistemic vantage point, to the "NOW," to what we presently think is the "the real." In our most rigorous (ridiculous?) discussions of science fiction we hold up a mirror to present day knowledge and assumptions. This makes sense for works "hot off the press." A film, book, show, etc. designed for a present day audience should invite suspension of disbelief in terms relevant to that audience.
TOS had a different audience than TNG and nuTrek. TOS was designed to work for audiences in 1969 and it worked well. Were we, however, to invoke "the reality criterion" as an evaluative standard of TOS or TNG, we would be inclined that these artworks are not well-designed. This results in an unfair judgment of the original. These embarrassing judgements sometimes lead to apologetic speculative interpretations of Treknology. EX: "Well, we now know that neutrinos travel faster than light, so we can assume that Treknology X makes use of neutrinos which explains why it operates at FTL speeds..." Such charitable interpretation, however, could have never been an aspect of the original artwork. No scientists, let alone Hollywood writers, could have guessed the CERN experiments would come up with results suggesting that neutrinos travel faster than light.
Trek is now old enough that the default invocation of the reality criterion no longer makes sense. We should, in some instances, describe, interpret, and evaluate Treknology in terms of the time for which it was written.
At the very least, we should ask the question, when discussing Treknology - "OK, are we talking about how it functioned then or how it functions now?" If we were, for example, talking about the The Nautilus, it would not be appropriate to assume that it was equipped with WiFi
hotspots, but yet we think nothing of assuming that The Enterprise of 1982 should be assumed to have plausible magic technology on grounds of justifications of the latest speculations in physics. This is a mistake - it assumes that we are only properly concerned with the question "How does it work for us now." We can't even answer that question honestly, because how it works now (for us) is informed by cultural memories and expectations that have formed over years of viewing (e.g., nostalgia and accepted conventions).
These concerns are complicated by the fact that Trek has been around for 40+ years. Science fiction tends to have a short shelf life in terms of its technological conceits.
Evaluation suffers first, and most severely. Analogue gauges made sense in 1969, for example, but are now something of an embarrassment. Interpretation along the lines of "How does this (allegedly) work?" suffers too. Anachronism creeps into the picture. In TOS, the writers had absolutely no concern about Heisenberg Compensators, because they never really scrutinized the necessary physics of teleportation. TNG rewrites Trek's history a bit to make fantasy elements more believable. And when was it and where was it that it was decided that those nacelle caps were "Bussard Collectors?" Even description of Treknology, given enough time, might become confusing (think of reading Shakespeare's works).
The default assumption of technology in science fiction is that we are talking of how things function in relation to our epistemic vantage point, to the "NOW," to what we presently think is the "the real." In our most rigorous (ridiculous?) discussions of science fiction we hold up a mirror to present day knowledge and assumptions. This makes sense for works "hot off the press." A film, book, show, etc. designed for a present day audience should invite suspension of disbelief in terms relevant to that audience.
TOS had a different audience than TNG and nuTrek. TOS was designed to work for audiences in 1969 and it worked well. Were we, however, to invoke "the reality criterion" as an evaluative standard of TOS or TNG, we would be inclined that these artworks are not well-designed. This results in an unfair judgment of the original. These embarrassing judgements sometimes lead to apologetic speculative interpretations of Treknology. EX: "Well, we now know that neutrinos travel faster than light, so we can assume that Treknology X makes use of neutrinos which explains why it operates at FTL speeds..." Such charitable interpretation, however, could have never been an aspect of the original artwork. No scientists, let alone Hollywood writers, could have guessed the CERN experiments would come up with results suggesting that neutrinos travel faster than light.
Trek is now old enough that the default invocation of the reality criterion no longer makes sense. We should, in some instances, describe, interpret, and evaluate Treknology in terms of the time for which it was written.
At the very least, we should ask the question, when discussing Treknology - "OK, are we talking about how it functioned then or how it functions now?" If we were, for example, talking about the The Nautilus, it would not be appropriate to assume that it was equipped with WiFi
hotspots, but yet we think nothing of assuming that The Enterprise of 1982 should be assumed to have plausible magic technology on grounds of justifications of the latest speculations in physics. This is a mistake - it assumes that we are only properly concerned with the question "How does it work for us now." We can't even answer that question honestly, because how it works now (for us) is informed by cultural memories and expectations that have formed over years of viewing (e.g., nostalgia and accepted conventions).