This seminar aims to explore the relationships between technics, writing, and science fiction (SF) by focusing on the formulations on technics by Bernard Stiegler and theorization of the specificities of SF as a literary genre by several key figures in SF criticism, such as Darko Suvin, Fredric Jameson, Carl Freedman, to name but a few. The most significant contribution by Stiegler to the conception of technics is perhaps his idea of taking technics as a form of tertiary memory, which defines technics as an inextricable part of humanity itself and an attempt at reconciling the age-old opposition between technics and humanity in the tradition of Western philosophy. This revolutionary view on the technics-humanity relationship can spell far-reaching implications for criticisms of SF, a practice of writing that has been broaching the subject of technics since its invention. In one sense, the primary study question in this seminar can be put this way: If SF is to be considered a form of tertiary memory (writing), and thus of technics, what are its specificities, or perhaps “technicities,” that distinguish the genre from other forms of literary representation? Or more precisely, how does SF “retain” the coeval empirical reality in a way different from the ways Realism and Fantasy literature do? This seminar will be divided into three sections. The first section prepares the student for tackling the complex text of Stiegler’s by reviewing the key philosophical discussions on technics/technicity before Stiegler and several informative introductory essays by Stiegler scholars in the Anglophone academia; the second section is dedicated to a detailed reading of Stiegler’s text Technics and Time 1, with some secondary materials for reference; and the last section examines SF criticism from Darko Suvin to the most recent development in the field, with the goal of providing the student a fully informed theoretical background for grasping the specificities of the SF genre.