This past week, Japanese scientists unveiled what they claim is the world’s first news-reading android. The adolescent-looking “Kodomoroid” – an amalgamation of the Japanese word “kodomo” (child) and “android”- and “Otonaroid” (“otona” meaning adult) introduced themselves at an exhibit entitled Android: What is a Human?, which is being presented at Tokyo’s National Museum of Emerging Science and Innovation (Miraikan).
The androids were flanked by robotics professor Hiroshi Ishiguro and Miraikan director Mamoru Mori. After Kodomoroid delivered news of an earthquake and an FBI raid to amazed reporters in Tokyo. She even poked fun at her creator, leading robotics professor Hiroshi Ishiguro, “You’re starting to look like a robot!” This was followed by Otonaroid fluffing her lines when asked to introduced herself, which was followed by her excusing herself by saying, “I’m a little bit nervous.”
Both androids will be working at Miraikan and interacting with visitors, as part of Ishiguro’s studies into human reactions to the machines. Ishiguro is well-known for his work with “geminoid”, robots that bare a frightening resemblance to their creator. As part of his lecture process, Ishiguro takes his geminoid with him when he travels and even let’s it deliver his lectures for him. During an interview with AFP, he explained the reasoning behind this latest exhibit:
This will give us important feedback as we explore the question of what is human. We want robots to become increasingly clever. We will have more and more robots in our lives in the future… This will give us important feedback as we explore the question of what is human. We want robots to become increasingly clever.
Granted the unveiling did have its share of bugs. For her part, Otonaroid looked as if she could use some rewiring before beginning her new role as the museum’s science communicator, her lips out of sync and her neck movements symptomatic of a bad night’s sleep. But Ishiguro insisted both would prove invaluable to his continued research as museum visitors get to have conversations with the ‘droids and operate them as extensions of their own body.
And this is just one of many forays into a world where the line between robots and humans are becoming blurred. After a successful debut earlier this month, a chatty humanoid called Pepper is set to go on sale as a household companion in Japan starting next year. Designed by SoftBank, using technology acquired from French robotics company Aldebaran, and marketed as a household companion, each robot will cost around $2,000, the same cost of a laptop.
Pepper can communicate through emotion, speech or body language and it’s equipped with both mics and proximity sensors. Inside, it will be possible to install apps and upgrade the unit’s functionality, the plan being to make Pepper far smarter than when you first bought it. It already understands 4,500 Japanese words, but perhaps more impressively, Pepper can apparently read into the tone used to understand its master’s disposition.
Aldebaran CEO Bruno Maisonnier claims that robots that can recognize human emotion will change the way we live and communicate. And this is certainly a big step towards getting robots into our daily lives, at least if you live in Japan (the only place Pepper will be available for the time being). He also believes this is the start of a “robotic revolution” where robotic household companions that can understand and interact with their human owners will become the norm.
Hmm, a world where robots are increasingly indistinguishable from humans, can do human jobs, and are capable of understanding and mimicking our emotions. Oh, and they live in our houses too? Yeah, I’m just going to ignore the warning bells going off in my head now! And in the meantime, be sure to check out these videos of Kodomoroid and Otonaroid and Pepper being unveiled for the first time:
In the course of becoming an indie writer, there is one aspect of the creative process which keeps coming back to me. To put it simply, it is the challenges and delights of world building – i.e. creating the background, context, and location in which a story takes place. For years, I have been reading other people’s thoughts on the subject, be they authors themselves or just big fans of literary fiction.
But my own experience with the process has taught me much that I simply couldn’t appreciate before I picked up my pen and pad (or in this case, opened a word doc and began typing). Ad lately, the thoughts have been percolating in my mind and I felt the need to write them out. Having done that, I thought I might share them in full.
For starters, being a science fiction writer presents a person with particular opportunities for creative expression. But at the same time, it presents its share of particular challenges. While one is certainly freer to play around with space, place, and invent more freely than with most other genres, they are still required to take into account realism, consistency and continuity in all that they do.
Sooner or later, the world a writer builds will be explored, mapped, and assessed, and any and all inconsistencies are sure to stick out like a sore thumb! So in addition to making sure back-stories, timelines and other details accord with the main plot, authors also need to be mindful of things like technology, physical laws, and the nature of space and time.
But above all, the author in question has to ask themselves what kind of universe they want to build. If it is set in the future, they need to ask themselves certain fundamental questions about where human beings will be down the road. Not only that, they also need to decide what parallels (and they always come up!) they want to draw with the world of today.
Through all of this, they will be basically deciding what kind of message they want to be sending with their book. Because of course, anything they manage to dream up about the future will tell their readers lots about the world the author inhabits, both in the real sense and within their own head. And from what I have seen, it all comes down to five basic questions they must ask themselves…
1. Near-Future/Far Future:
When it comes to science-fiction stories, the setting is almost always the future. At times, it will be set in an alternate universe, or an alternate timeline; but more often than not, the story takes place down the road. The only question is, how far down the road? Some authors prefer to go with the world of tomorrow, setting their stories a few decades or somewhere in the vicinity of next century.
By doing this, the author in question is generally trying to show how the world of today will determine the world of tomorrow, commenting on current trends and how they are helping/hurting us. During the latter half of the 20th century, this was a very popular option for writers, as the consensus seemed to be that the 21st century would be a time when some truly amazing things would be possible; be it in terms of science, technology, or space travel.
Other, less technologically-inclined authors, liked to use the not-so-distant future as a setting for dystopian, post-apocalytpic scenarios, showing how current trends (atomic diplomacy, arms races, high tech, environmental destruction) would have disastrous consequences for humanity in the near-future. Examples of this include Brave New World, 1984, The Iron Heel, The Chrysalids, and a slew of others.
In all cases, the totalitarian regimes or severe technological and social regression that characterized their worlds were the result of something happening in the very near-future, be it nuclear or biological war, a catastrophic accident, or environmental collapse. Basically, humanity’s current behavior was the basis for a cautionary tale, where an exaggerated example is used to illustrate the logical outcome of all this behavior.
At the other end of the spectrum, many authors have taken the long view with their sci-fi world building. Basically, they set their stories several centuries or even millennia from now. In so doing, they are able to break with linear timelines and the duty of having to explain how humanity got from here to there, and instead could focus on more abstract questions of existence and broader allegories.
Examples of this include Frank Herbert’s Dune and Asimov’s Foundation series, both of which were set tens of thousands of years in the future. In both of these universes, humanity’s origins and how they got to where they were took a backseat to the historical allegories that were being played upon. While some mention is given to the origins of humanity and where they came from, little attempt is made to draw a line from the present into the future.
Instead, the focus is overwhelmingly on the wider nature of human beings and what drives us to do the things we do. Asimov drew from Gibbon’s Decline and Fall of the Roman Empire to make a point about the timeless nature of history, while Herbert drew on the modern age, medieval and ancient history, religion, philosophy, and evolutionary biology and ecology to investigate the timeless nature of humanity and what factors shape it.
For non-purists, Star Wars and Star Trek can also serve as examples of both tendencies in action. For decades, Star Trek used a not-too-distant future setting to endlessly expound on the human race and the issues it faces today. And always, this examination was done in the form of interstellar travel, the crew of the Enterprise going form world to world and seeing themselves in the problems, norms and social structure of other races.
Star Wars, on the other hand, was an entirely different animal. For the people living in this universe, no mention is ever made of Earth, and pre-Republic history is considered a distant and inaccessible thing. And while certain existential and social issues are explored (i.e. racism, freedom and oppression), the connections with Earth’s past are more subtle, relying on indirect clues rather than overt comparisons.
The Republic and the Empire, for example, is clearly inspired by Rome’s own example. The Jedi Code is very much the picture of the Bushido code, its practitioners a sort of futuristic samurai, and the smugglers of Tatooine are every bit the swashbuckling, gun toting pirates and cowboys of popular fiction. But always, the focus seemed to more on classically-inspired tales of destiny, and of epic battles of good versus evil.
And of course, whether we are talking near future or far future has a big influence on the physical setting of the story as well. Which brings me to item two…
2. Stellar or Interstellar:Here is another important question that every science fiction author has faced, and one which seriously influences the nature of the story. When it comes to the world of tomorrow, will it be within the confines of planet Earth, the Solar System, or on many different world throughout our galaxy? Or, to go really big, will it encompass the entire Milky Way, or maybe even beyond?
Important questions for a world-builder, and examples certainly abound. In the former case, you have your dystopian, post-apocalyptic, and near future seenarios, where humanity is stuck living on a hellish Earth that has seen better days. Given that humanity would not be significantly more adavanced than the time of writing, or may have even regressed due to the downfall of civilization, Earth would be the only place people can live.
But that need not always be the case. Consider Do Androids Dream of Electric Sheep? by Philip K Dick. In his dystopian, post-apocalyptic tale, Earth was devestated by nuclear war, forcing the wealthiest and healthiest to live in the Offworld Colonies while everyone who was too poor or too ravaged by their exposure to radiation was confined to Earth. Clearly, dystopia does not rule out space travel, though it might limit it.
And in the latter case, where human beings have left the cradle and begun walking amongst our System’s other planets and even the stars, the nature of the story tends to be a bit more ambiguous. Those who choose such a setting tend to be of the opinion that mankind either needs to reach out in order to survive, or that doing so will allow us to shed some of our problems.
Examples abound here again, but Alastair Reynolds’ Revelation Space universe seems like the ideal one here. In this series, humanity has access to near-light speed travel, nanotechnology, brain-computer interfacing, neural uploading, AI, smart materials, and has colonized dozens of new worlds. However, the state of humanity has not changed, and on many worlds, civil war and sectarian violence are common.
In either case, the setting also bears a direct relation to the state of technology in the story. For humans still living on Earth (and nowhere else) in the future, chances are, they are about as advanced or even behind the times in which the story was written. For those living amongst the stars, technology would have to advanced sufficiently to make it happen. Which brings me to the next point…
3. High-Tech or Low-Tech: What would a work of science fiction be without plenty of room for gadgets, gizmos, and speculation about the future state of technology? And once more, I can discern of two broad categories that an author can choose from, both of which have their share of potential positives and negatives. And depending on what kind of story you want to write, the choice of what that state is often predetermined.
In the former case, there is the belief that technology will continue to advance in the future, leading to things like space travel, FTL, advanced cyborgs, clones, tricorders, replicators, artificial intelligence, laser guns, lightsabers, phasers, photon torpedoes, synthetic humans, and any number of other fun, interesting and potentially dangerous things.
With stories like these, the purpose of high-tech usually serves as a framing device, providing visual evidence that the story is indeed taking place in the future. In other words, it serves a creative and fun purpose, without much thought being given towards exploring the deeper issues of technological progress and determinism. But this not be the case, and oftentimes with science fiction, high-tech serves a different purpose altogether.
In many other cases, the advance of technology is directly tied to the plot and the nature of the story. Consider cyberpunk novels like Neuromancer and the other novels of William Gibson’s SprawlTrilogy. In these and other cyberpunk novels, the state of technology – i.e. cyberpsace decks, robotic prosthetics, biotech devices – served to illustrate the gap between rich and poor and highlighting the nature of light in a dark, gritty future.
By contrast, such post-cyberpunk novels as Neal Stephenson’s The Diamond Age took a different approach. While high-tech and its effects on society were explored in great detail, he and other authors of this sub genre chose to break with their predecessors on one key issue. Namely, they did not suppose that the emergence of high-tech would lead to dystopia, but rather an ambiguous future where both good and harm resulted.
And at the other end of the spectrum, where technology is in a low state, the purpose and intent of this is generally the same. On the one hand, it may serve as a plot framing device, illustrating how the world is in a primitive state due to the collapse of civilization as we know it, or because our unsustainable habits caught up with us and resulted in the world stepping backwards in time.
At the same time, the very fact that people live in a primitive state in any of these stories serves the purpose of commentary. Simply by showing how our lives were unsustainable, or the actions of the story’s progenitor’s so foolish, the author is making a statement and asking the reader to acknowledge and ponder the deeper issue, whether they realize it or not.
At this end of things, A Boy and His Dog and Mad Max serve as good examples. In the former case, the story takes place in a post-apocalyptic landscape where a lone boy and his genetically-engineered talking dog rove the landscape in search of food and (in the boy’s case) sexual gratification. Here, the state of technology helps to illustrate the timeless nature of the human condition, namely how we are essentially the products of our environment.
In Mad Max as well, the way roving gangs are constantly looking for gasoline, using improvised weapons, and riding around in vehicles cobbled together from various parts gives us a clear picture of what life is like in this post-collapse environment. In addition, the obvious desperation created by said collapse serves to characterize the cultural landscape, which is made up of gangs, tinpot despots, and quasi-cults seeking deliverance.
But on the other hand, the fact that the world exists in this state due to collapse after the planet’s supply of oil ran dry also provides some social commentary. By saying that the world became a dangerous, anarchistic and brutal place simply because humanity was dependent on a resource that suddenly went dry, the creators of Mad Max’s world were clearly trying to tell us something. Namely, conserve!
4. Aliens or Only Humans: Another very important question for setting the scene in a science fiction story is whether or not extra-terrestrials are involved. Is humanity still alone in the universe, or have they broken that invisible barrier that lies between them and the discovery of other sentient life forms? Once again, the answer to this question has a profound effect on the nature of the story, and it can take many forms.
For starters, if the picture is devoid of aliens, then the focus of the story will certainly be inward, looking at human nature, issues of identity, and how our environment serves to shape us. But if there are aliens, either a single species or several dozen, then the chances are, humanity is a united species and the aliens serve as the “others”, either as a window into our own nature, or as an exploration into the awe and wonder of First Contact.
As case studies for the former category, let us consider the Dune, Foundation, and Firefly universes. In each of these, humanity has become an interstellar species, but has yet to find other sentiences like itself. And in each of these, human nature and weaknesses appear to be very much a constant, with war, petty rivalries and division a costant. Basically, in the absence of an “other”, humanity is focused on itself and the things that divide it.
In Dune, for example, a galaxy-spanning human race has settled millions of worlds, and each world has given rise to its own identity – with some appearing very much alien to another. Their are the “navigators”, beings that have mutated their minds and bodies through constant exposure to spice. Then there are the Tleilaxu, a race of genetic manipulators who breed humans from dead tissue and produce eunuch “Face Dancers” that can assume any identity.
Basically, in the absence of aliens, human beings have become amorphous in terms of their sense of self, with some altering themselves to the point that they are no longer even considered human to their bretherin. And all the while, humanity’s biggest fight is with itself, with rival houses vying for power, the Emperor gaurding his dominance, and the Guild and various orders looking to ensure that the resource upon which all civilization depends continues to flow.
In the Foundation universe, things are slightly less complicated; but again, the focus is entirely inward. Faced with the imminent decline and collapse of this civilization, Hari Seldon invents the tool known as “Psychohistory”. This science is dedicated to anticipating the behavior of large groups of people, and becomes a roadmap to recovery for a small group of Foundationists who seek to preserve the light of civilization once the empire is gone.
The series then chronicles their adventures, first in establishing their world and becoming a major power in the periphery – where Imperial power declines first – and then rebuilding the Empire once it finally and fully collapses. Along the way, some unforeseen challenges arise, but Seldon’s Plan prevails and the Empire is restored. In short, it’s all about humans trying to understand the nature of human civilization, so they can control it a little better.
Last, but not least, their is the Firefly universe which – despite the show’s short run – showed itself to be in-depth and interestingly detailed. Basically, the many worlds that make up “The Verse” are divided along quasi-national lines. The core worlds constitute the Alliance, the most advanced and well-off worlds in the system that are constantly trying to expand to bring the entire system under its rule.
The Independents, we learn early in the story, were a coalition of worlds immediately outside the core worlds that fought these attempts, and lost. The Border Worlds, meanwhile, are those planets farthest from the core where life is backwards and “uncivilized” by comparison. All of this serves to illustrate the power space and place have over human identity, and how hierarchy, power struggles and divisiveness are still very much a part of us.
But in universes where aliens are common, then things are a little bit different. In these science fiction universes, where human beings are merely one of many intelligent species finding their way in the cosmos, extra-terrestrials serve to make us look outward and inward at the same time. In this vein, the cases of Babylon 5, and 2001: A Space Odyssey provide the perfect range of examples.
In B5 – much as with Stark Trek, Star Gate, or a slew of other franchises – aliens serve as a mirror for the human condition. By presenting humanity with alien cultures, all of whom have their own particular quarks and flaws, we are given a meter stick with which to measure ourselves. And in B5‘s case, this was done rather brilliantly – with younger races learning from older ones, seeking wisdom from species so evolved that often they are not even physical entities.
However, in time the younger race discover that the oldest (i.e. the Shadows, Vorlons, and First Ones) are not above being flawed themselves. They too are subject to fear, arrogance, and going to war over ideology. The only difference is, when they do it the consequences are far graver! In addition, these races themselves come to see that the ongoing war between them and their proxies has become a senseless, self-perpetuating mistake. Echoes of human frailty there!
In 2001: A Space Odyssey, much the same is true of the Firstborn, a race of aliens so ancient that they too are no longer physical beings, but uploaded intelligences that travel through the cosmos using sleek, seamless, impenetrable slabs (the monoliths). As we learn in the course of the story, this race has existed for eons, and has been seeking out life with the intention of helping it to achieve sentience.
This mission brought them to Earth when humanity was still in its primordial, high-order primate phase. After tinkering with our evolution, these aliens stood back and watched us evolve, until the day that we began to reach out into the cosmos ourselves and began to discover some of the tools they left behind. These include the Tycho Monolith Anomaly-1 (TMA-1) on the Moon, and the even larger one in orbit around Jupiter’s moon of Europa.
After making contact with this monolith twice, first with the American vessel Discovery and then the joint Russian-American Alexei Leonov, the people of Earth realize that the Firstborn are still at work, looking to turn Jupiter into a sun so that life on Europa (confined to the warm oceans beneath its icy shell) will finally be able to flourish. Humanity is both astounded and humbled to learn that it is not alone in the universe, and wary of its new neighbors.
This story, rather than using aliens as a mirror for humanity’s own nature, uses a far more evolved species to provide a contrast to our own. This has the same effect, in that it forces us to take a look at ourselves and assess our flaws. But instead of showing those flaws in another, it showcases the kind of potential we have. Surely, if the Firstborn could achieve such lengths of evolutionary and technological development, surely we can too!
5. Utopian/Dystopian/Ambiguous: Finally, there is the big question of the qualitative state of humanity and life in this future universe. Will life be good, bad, ugly, or somewhere in between? And will humanity in this narrative be better, worse, or the same as it now? It is the questions of outlook, whether it is pessimistic, optimistic, realistic, or something else entirely which must concern a science fiction writer sooner or later.
Given that the genre evolved as a way of commenting on contemporary trends and offering insight into their effect on us, this should come as no surprise. When looking at where we are going and how things are going to change, one cannot help but delve into what it is that defines this thing we know as “humanity”. And when it comes right down to it, there are a few schools of thought that thousands of years of scholarship and philosophy have provided us with.
Consider the dystopian school, which essentially posits that mankind is a selfish, brutish, and essentially evil creature that only ever seeks to do right by himself, rather than other creatures. Out of this school of thought has come many masterful works of science fiction, which show humanity to be oppressive to its own, anthropocentric to aliens and other life forms, and indifferent to the destruction and waste it leaves in its wake.
And of course, there’s the even older Utopia school, which presents us with a future where mankind’s inherent flaws and bad behavior have been overcome through a combination of technological progress, political reform, social evolution, and good old fashioned reason. In these worlds, the angels of humanity’s nature have won the day, having proven superior to humanity’s devils.
In the literally realm, 1984 is again a perfect example of dytopian sci=fi, where the totalitarian rule of the few is based entirely on selfishness and the desire for dominance over others. According to O’Brien, the Party’s mouthpiece in the story, their philosophy in quite simple:
The Party seeks power entirely for its own sake.We are not interested in the good of others; we are interested solely in power. Power is in inflicting pain and humiliation. Power is in tearing human minds to pieces and putting them together again in new shapes of your own choosing. If you want a picture of the future, imagine a boot stamping on a human face — forever.
Hard to argue with something so brutal and unapologetic, isn’t it? In Orwell’s case, the future would be shaped by ongoing war, deprivation, propaganda, fear, torture, humiliation, and brutality. In short, man’s endless capacity to inflict pain and suffering on others.
Aldous Huxley took a different approach in his seminal dystopian work, Brave New World, in which he posited that civilization would come to be ruled based on man’s endless appetite for pleasure, indifference and distraction. Personal freedom and individuality would be eliminated, yes, but apparently for man’s own good rather than the twisted designs of a few true-believers:
Universal happiness keeps the wheels steadily turning; truth and beauty can’t. And, of course, whenever the masses seized political power, then it was happiness rather than truth and beauty that mattered… People were ready to have even their appetites controlled then. Anything for a quiet life. We’ve gone on controlling ever since. It hasn’t been very good for truth, of course. But it’s been very good for happiness. One can’t have something for nothing. Happiness has got to be paid for.
But even though the means are entirely different, the basic aim is the same. Deprive humanity of his basic freedom and the potential to do wrong in order to ensure stability and long-term rule. In the end, a darker, more cynical view of humanity and the path that we are on characterized these classic examples of dystopia and all those that would come to be inspired them.
As for Utopian fiction, H.G. Wells’ Men Like Gods is a very appropriate example. In this novel, a contemporary journalist finds himself hurled through time into 3000 years into the future where humanity lives in a global state named Utopia, and where the “Five Principles of Liberty” – privacy, free movement, unlimited knowledge, truthfulness, and free discussion and criticism – are the only law.
After staying with them for a month, the protogonist returns home with renewed vigor and is now committed to the “Great Revolution that is afoot on Earth; that marches and will never desist nor rest again until old Earth is one city and Utopia set up therein.” In short, like most Positivists of his day, Wells believed that the march of progress would lead to a future golden age where humanity would shed it’s primitive habits and finally live up to its full potential.
This view would prove to have a profound influence on futurist writers like Asimov and Clarke. In the latter case, he would come to express similar sentiments in both the Space Odyssey series and his novel Childhood’s End. In both cases, humanity found itself confronted with alien beings of superior technology and sophistication, and eventually was able to better itself by opening itself up to their influence.
In both series, humanity is shown the way to betterment (often against their will) by cosmic intelligences far more advanced than their own. But despite the obvious questions about conquest, loss of freedom, individuality, and identity, Clarke presents this as a good thing. Humanity, he believed, had great potential, and would embrace it, even if it had to be carried kicking and screaming.
And just like H.G Wells, Clarke, Asimov, and a great many of his futurist contemporaries believes that the ongoing and expanding applications of science and technology would be what led to humanity’s betterment. A commitment to this, they believed, would eschew humanity’s dependence on religion, superstition, passion and petty emotion; basically, all the things that made us go to war and behave badly in the first place.
Summary: These are by no means the only considerations one must make before penning a science fiction story, but I think they provide a pretty good picture of the big-ticket items. At least the ones that keep me preoccupied when I’m writing! In the end, knowing where you stand on the questions of location, content, tone and feel, and what your basic conception of the future, is all part of the creation process.
In other words, you need to figure out what you’re trying to say and how you want to say it before you can go to town. In the meantime, I say to all aspiring and established science fiction writers alike: keep pondering, keep dreaming, and keep reaching for them stars!
I’ve heard of biomimetics – machinery and synthetics that can imitate organic materials – but this really takes the cake! In an effort to pioneer components and devices that would posses the regenerative powers of skin, a Spanish researcher Ibon Odriozola – who works for the CIDETEC Centre for Electrochemical Technologies in Spain – has created a polymer that could lead to a future where repairing machinery is as easy as suturing an open wound.
Comprised of a poly (urea-urethane) elastomeric matrix, the material is basically a network of complex molecular interactions that will spontaneously cross-link to “heal” most any break. In this context, the word “spontaneous” means that the material needs no outside intervention to begin its healing process, no catalyst or extra reactant.
To experiment with the material, Odriozola cut a sample in half with a razor blade at room temperature. And in just two hours, the cut healed itself with 97% efficiency. The reaction, called a metathesis reaction, has led Odriozola to dub the material his “Terminator” polymer, in reference to you-know-who (pictured above). Though the transition process takes a little longer, and involves polymers instead of metal, the basic principle is the same.
Unlike other self-healing materials, this one requires no catalyst and no layering. In addition to being very impressive to behold, this technology can extend the life spans of plastics that are under regular stress. The group’s main goal now is to make a harder version, perhaps one that could be formed into such parts itself. As it exists today, the polymer is squishy and somewhat soft.
In addition, a good self-healing material like this is a boon for ongoing efforts to find a viable material for artificial skin. Self-healing technology could also open the door to growth materials, as new units of the matrix could be incorporated as the material stretches and tears on the microscopic level. This would be especially useful when it comes to artificial skin, since it could grow over time and remove the need for replacement.
And if the healing mechanism proves strong enough, it could even be used as an adhesive or a sealant in other materials and even electronics. Just think of it! Everything from windows, to personal devices, to joints that are in need of padding. A simple injection of this type of material, and the breaks and aches go away. And given the progress being made with androids and life-like robots, its use as a source for artificial skin could go a long way to making them anthropomorphic.
And as usual, there’s a cool demonstration video. Enjoy!
I love to study this thing we call “the future”, and began to do so as a hobby the day I made the decision to become a sci-fi writer. And if there’s anything I’ve learned, its that the future is an intangible thing, a slippery beast we try to catch by the tail at any given moment that is constantly receding before us. And when predict it, we are saying more about the time in which we are living than anything that has yet to occur.
As William Gibson famously said: “…science fiction was always about the period in which it was written.” At every juncture in our history, what we perceive as being the future changes based on what’s going on at the time. And always, people love to bring up what has been predicted in the past and either fault or reward the authors for either “getting it right” or missing the mark.
This would probably leave many people wondering what the point of it all is. Why not just wait and let the future tend to itself? Because it’s fun, that’s why! And as a science fiction writer, its an indispensable exercise. Hell, I’d argue its absolutely essential to society as a whole. As a friend of one once said, “science fiction is more of a vehicle than a genre.” The point is to make observations about society, life, history, and the rest.
And sometimes, just sometimes, predictive writers get it right. And lately, I’ve been inspired by sources like Future Timeline to take a look at the kinds of predictions I began making when I started writing and revising them. Not only have times changed and forced me to revise my own predictions, but my research into what makes humanity tick and what we’re up to has come a long way.
So here’s my own prediction tree, looking at the next few centuries and whats likely to happen…
Ongoing recession in world economy, the United States ceases to be the greatest economic power
China, India, Russia and Brazil boast highest rates of growth despite continued rates of poverty
Oil prices spike due to disappearance of peak oil and costs of extracting tar sands
Solar power, wind, tidal power growing in use, slowly replacing fossil fuel and coal
First arcologies finished in China, Japan, Russia, India and the United States
Humanity begins colonizing the Moon and mounts manned mission to Mars
Settlements constructed using native soil and 3D printing/sintering technology
NASA tows asteroid to near Earth and begins studies, leading to plans for asteroid mining
Population grows to 9 billion, with over 6 living in major cities across the all five continents
Climate Change leading to extensive drought and famine, as well as coastal storms, flooding and fires
Cybernetics, nanotech and biotech leading to the elimination of disabilities
3D Construction and Computer-Assisted Design create inexpensive housing in developing world
First exploratory mission to Europa mounted, discovers proof of basic life forms under the surface ice
Rome ordains first openly homosexual priests, an extremely controversial move that splits the church
First semi-sentient, Turing compatible AI’s are produced and put into service
Thin, transparent, flexible medical patches leading to age of “digital medicine”
Religious orders formed opposed to “augmentation”, “transhumanism” and androids
First true quantum computers roll off the assembly line
Creation of the worldwide quantum internet underway
Quantum cryptography leads to increased security, spamming and hacking begins to drop
Flexible, transparent smartphones, PDAs and tablets become the norm
Fully immersive VR environments now available for recreational, commercial and educational use
Carbon dioxide in the upper atmosphere passes 600 ppm, efforts to curb emissions are redoubled
ISS is retired, replaced by multiple space stations servicing space shuttles and commercial firms
World’s first orbital colony created with a population of 400 people
Global economy enters “Second Renaissance” as AI, nanomachinery, quantum computing, and clean energy lead to explosion in construction and development
Commercial space travel become a major growth industry with regular trips to the Moon
Implant technology removes the need for digital devices, technology now embeddable
Medical implants leading to elimination of neurological disorders and injuries
Synthetic food becoming the rage, 3D printers offering balanced nutrition with sustainability
Canada, Russia, Argentina, and Brazil become leading exporters of foodstuffs, fresh water and natural gas
Colonies on the Moon and Mars expand, new settlement missions plotted to Ganymede, Europa, Oberon and Titan
Quantum internet expanding into space with quantum satellites, allowing off-world connectivity to worldwide web
Self-sufficient buildings with water recycling, carbon capture and clean energy becomes the norm in all major cities
Second and third generation “Martians” and “Loonies” are born, giving rise to colonial identity
Asteroid Belt becomes greatest source of minerals, robotic foundries use sintering to create manufactured products
Europe experiences record number of cold winters due to disruption of the Gulf Stream
Missions mounted to extra-Solar systems using telexploration probes and space penetrators
Average life expectancy now exceeds 100, healthy children expected to live to 120 years of age
NASA, ESA, CNSA, RFSA, and ISRO begin mounting missions to exoplanets using robot ships and antimatter engines
Private missions to exoplanets with cryogenically frozen volunteers and crowdfunded spaceships
Severe refugee crises take place in South America, Southern Europe and South-East Asia
Militarized borders and sea lanes trigger multiple humanitarian crises
India and Pakistan go to war over Indus River as food shortages mount
China clamps down on separatists in western provinces of Xinjian and Tibet to protect source of the Yangtze and Yellow River
Biotechnology begins to grow, firms using bacteria to assemble structural materials
Fully sentient AIs created and integrated into all aspects of life
Traditionalist communities form, people seeking to disconnect from modern world and eschew enhancement
Digital constructs become available, making neurological downloads available
Nanotech research leading to machinery and materials assembled at the atomic level
Traditional classrooms giving way to “virtual classrooms”, on-demand education by AI instructors
Medical science, augmentation, pharmaceuticals and uploads lead to the first generation of human “Immortals”
Orbital colonies gives way to Orbital Nexus, with hundreds of habitats being established
Global population surpasses 12 billion despite widespread famine and displacement
Solar, wind, tidal, and fusion power replace oil and coal as the dominant power source worldwide
Census data shows half of world residents now have implants or augmentation of some kind
Research into the Alcubierre Drive begins to bear experimental results
Climate Change and global population begin to level off
First “Neural Collective” created, volunteers upload their thought patterns into matrix with others
Transhumanism becomes established religion, espousing the concept of transcendence
Widespread use of implants and augmentation leads to creation of new underclass called “organics”
Solar power industry in the Middle East and North Africa leading to growth in local economies
Biotech leads to growth of “glucose economy”, South American and Sub-Saharan economies leading in manufacture of biomaterials
Population in Solar Colonies and Orbital Nexus reaches 100,000 and continues to grow
Off-world industry continues to grow as Asteroid Belt and colonies provide the majority of Earth’s mineral needs
Famine now widespread on all five continents, internalized food production in urban spaces continues
UN gives way to UNE, United Nations of Earth, which has near-universal representation
First test of Alcubierre FTL Drive successful, missions to neighboring systems planned
Tensions begin to mount in Solar Colonies as pressure mounts to produce more agricultural goods
Extinction rate of wild animals begins to drop off, efforts at ecological restoration continue
First attempts to creating world religion are mounted, met with limited success
Governments in most developed countries transitioning to “democratic anarchy”
Political process and involvement becoming digitized as representation becomes obsolete
“Super-sentience” emerges as people merge their neural patterns with each other or AIs
Law reformed to recognize neural constructs and AIs as individuals, entitled to legal rights
Biotech research merges with AI and nanotech to create first organic buildings with integrated intelligence
Majority of the world’s population live in arcologies and self-sufficient environments
Census reveals over three quarters of world lives with implants or augmentation of some kind
Population of Orbital Nexus, off-world settlements surpasses 1 million
First traditionalist mission goes into space, seeking world insulated from rapid change and development
Labor tensions and off-world riots lead to creation of Solar policing force with mandate to “keep the peace”
First mission to extra=Solar planets arrive, robots begin surveying surface of Gliese 581 g, Gliese 667C c, HD 85512 b, HD 40307 g, Gliese 163 c, Tau Ceti e, Tau Ceti f
Deep space missions planned and executed with Alcubierre Drive to distant worlds
1st Wave using relativistic engines and 2nd Wave using Alcubierre Drives meet up and begin colonizing exoplanets
Neighboring star systems within 25 light years begin to be explored
Terraforming begins on Mars, Venus and Europa using programmed strains of bacteria, nanobots, robots and satellites
Space Elevator and Slingatron built on the Moon, used to transport people to space and send goods to the surface
Earth’s ecology begins to recover
Natural species are reintroduced through cloning and habitat recovery
Last reported famine on record, food production begins to move beyond urban farms
Colonies within 50 light years are established on Gliese 163 c, Gliese 581 g, Gliese 667C c, HD 85512 b, HD 40307 g, Tau Ceti e, Tau Ceti f
Off-world population reaches 5 million and continues to grow
Tensions between Earth and Solar Colonies continue, lead to demands for interplanetary governing body
Living, breathing cities become the norm on all settled worlds, entire communities build of integrated organic materials run by AIs and maintained by programmed DNA and machinery
23rd Century and Beyond:
Who the hell knows?
*Note: Predictions and dates are subject to revision based on ongoing developments and the author’s imagination. Not to be taken literally, and definitely open to input and suggestions.
Hey all. As you may know, my writing and I are busy at work producing an anthology about space travel and colonization. We have our location picked out, the star system Gliese 581. We have a planet, known as Gliese 581 g. We still need more writers, I was hoping for a dozen or so people to contribute to our short story collection. So if you’re a writer and enjoy classic sci-fi, space travel, exoplanets, weird aliens, androids, terraforming, sub-orbital colonies, space elevators, terradome and so forth, let me know and I’ll set you up with a project!
In the meantime, I’ve updated our map of the Gliese 581 to more accurately reflect the planets and the names they will be assigned in our story. Have a gander: