StillPaisleyCat

joined 1 year ago

Fascinating concept. It makes one wonder how workplaces could incorporate this kind of doula support for employees who are many their transformational journeys as persons with disabilities.

[–] StillPaisleyCat@startrek.website 3 points 1 year ago* (last edited 1 year ago) (1 children)

I’d like to drop TAS’ ‘The Practical Joker’ into the conversation.

The simulators in the Rec Room of the 1701, seem to be a more basic holographic VR along the lines of Discovery’s combat training simulator that we saw Lorca use to put Tyler through his paces as a security officer in season one. Yet, the simulator was able to take control of the ship and advance its own objectives. It’s not as clear that sentience was achieved in The Practical Joker but it’s hard to argue that there’s no self motivation.

What the problematic Rec Room simulator in TAS has in common with the TNG holodecks is that it is integrated with the ship’s main computer. And unlike in Voyager (and Picard season three), TAS’ Rec Room simulator and the early TNG holodecks were fully integrated into and interoperable with the power supply, communications and other core systems.

I think the OP’s point that the integration of multitronic technology with highly advanced simulators may be one necessary element is fair. Combine that with access, integration and interoperability with the full resources of a starship, and it may be enough to argue that Starfleet should have considered the potential for holographic entities to attain some level of sentience.

I have seen that theory.

If if it was found rather than invented technology, understanding its use is would still be a culturally significant advance.

I’d always inferred that Tilly would have been on a different track with a PhD. She would have been the kind to have her first degree by 18 or earlier and do the combined Academy-PhD program.

[–] StillPaisleyCat@startrek.website 1 points 1 year ago (2 children)

That was established by Roddenberry himself in the TNG pilot Encounter at Farpoint.

TOS fairly clearly implied that the Eugenics wars fed into WW3. Roddenberry insisted that WW3 was situated in the late middle 21st century as of TNG.

All SNW has done make this clear and give a reason why. Otherwise, we’re stuck with the Eugenics War and Khan ruling over a quarter of the planet in the 1990s being some kind of secret cabal thing.

Appreciate the follow up.

[–] StillPaisleyCat@startrek.website 10 points 1 year ago* (last edited 1 year ago) (4 children)

A couple of reactions:

I have seen it elsewhere that the story of Jonathan Frake back issues was misunderstood or exaggerated in fan wisdom about the ‘Riker manoeuvre’ and that Frakes himself has refuted it. Not sure where the truth lies on that one at this point.

Nausicans of all species had working temporal technology thousands of years in the past!!!

This is worth an entire reflection on its own. Do we know anything else about a rich and deep history of Nausican science and culture? (Let’s not let Picard’s personal trauma colour our views of them.)

Have they, as a species, been set back by intertemporal conflicts? How is it hat two very violent species - Klingons and Nausicans - are the ones who have longstanding knowledge of time travel mechanics?

I have the sense of a smoking exceedingly nonlinear Chekhov’s gun having been dropped in and carated for us.

[–] StillPaisleyCat@startrek.website 2 points 1 year ago (1 children)

There are influencers and sellers consciously working to evade any transparency. Made are trying to be just too cute with their ‘see what I have here’ posts.

The crafting social media communities are struggling with this too. /c/knitting has a new mod trying to establish rules and boundaries. Just as the community was starting to take off, the sellers and influencers started to be evident.

I wasn’t happy to see a dermal regenerator this early in the 23rd century, let alone as a widely available first aid instrument.

It’s been a bit of a puzzler as a technology. I’m not aware of any technobabble in Alpha, onscreen canon that explains how it works.

I really find that the beta-canon explanation in the relaunch books makes a great deal of sense in-universe. That is, that the dermal regenerator is a small, constrained application of the Genesis technology developed by Carol Marcus.

All to say this is a bit of a nitpick about a lost opportunity to make the dermal regenerator less of ‘magic in a chassis’ while providing a clear pathway for some of the technological progress from the 23rd to 24th centuries. Still reconcilable as a small temporal change within the river of the Prime continuity though.

I’m also feeling this way, but moreso, about implied propulsion speeds. SNW keeps giving us dialogue about galaxy-level reach in exploration or the Federation rather than just a portion of a quadrant or two. With several repeats this comes across as factual rather than hyperbole.

Having Starfleet exploring the entire galaxy in the 22nd century seems to imply crossing the line in terms of changing the timing or sequence of major first contact events or conflicts with the Borg or Changelings. I hope they back off on this.

Really interesting analysis, and a great deal of context to think on. You make a compelling case.

I realized how little I actually understand about Chinese concepts of Faces.

I’d like to see if I can come up with a few more examples. Some of B’Elanna’s episodes in Voyager, where she comes to see Klingon culture and practices as ‘less hateful’ might provide further opportunities to test your hypothesis.

Throwing Voyager’s ‘The Thaw’ into the mix.

It’s definitely a polarizing episode, but I think it’s one of the strongest. It’s a better adaptation of the premise of Stephen King’s novel ‘It’ than many others.

The episode itself is primarily staged in an artificial environment that would lend itself well to a theatre set. It might be possible to reduce the number of sets on Voyager itself to one.

TNG’s ‘The Most Toys’ likewise principally takes place in a single room.

I find the implicit assumption that everything onscreen is ‘fact’ exasperating.

More episodes than not depend on guest or recurring characters providing inaccurate, incomplete or outright deceptive information. In many cases, the plot hangs on whether the hero crew can deduce or find more evidence about what’s actually going on.

To assume that everything not directly contradicted in an episode is true is boggling.

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