This has to be one of the most inspiring short films of the year. Erik Wernquist = a digital artist and animator from Stockholm, Sweden – released this movie this past fall, and its made quite the impact already! Addressing the idea of future space exploration, Wernquist uses stunning visuals to show how human beings may one day fly to Jupiter, float walk on the surface of Mars, skate on the frozen surfaces of Europa, and fly through the skies of Titan.
One thing I myself loved was the attention to detail and little accuracies. Within each impressive visual, there are hints that give away the locations. For example, the blue sunset is from Mars, as pictured by NASA’s many rover missions over the past few years. The frozen lake where people are skating on shows Jupiter looming in the sky, indicating that it is Europa. And an overhead shot of Titan shows the “Mini Nile River” observed there by the Cassini space probe. And while the asteroid is unnamed, I would bet dollars to donuts that Vesta!
Including in these visuals are a number of speculative science fiction ideas pioneered by writers like Arthur C. Clarke and Kim Stanley Robinson, not the least of which have to do with space elevators and habitats built into hollowed-out asteroids. But above all is the contribution of Carl Sagan, who’s narration from his own book “Pale Blue Dot: A Vision of the Human Future in Space” (1994) provides the voiceover for the film.
You can watch the short film below, and be sure to check out Wernquist’s website for more info and his stunning gallery of images:
The Jovian moon of Europa remains a mystery that is just dying to be cracked. Although covered in ice, scientists have long understood that tidal forces caused by its proximity to Jupiter have created a warm interior, one which can sustain warm oceans beneath the surface. In the coming years, NASA wants to fly a mission to this planet so we can finally get a look at what, if anything, is lurking beneath that icy crust.
Perhaps emboldened by the success of the Curiosity Rover and the plans for a manned mission to Mars in 2030, NASA has several possible plans for what a Europa mission might look like. If the budget environment proves hospital, then NASA will likely send a satellite that will perform several orbits of the moon, a series of flybys on it, and scout the surface for science and potential landing sites.
Towards this end, they are looking for proposals for science instruments specifically tailored to the task. And within a year’s time, they plan to select 20 from a list of those proposed for the mission. At which point, the selectees will have $25 million to do a more advanced concept study. As John Grunsfeld, associate administrator for NASA’s science mission directorate, stated:
The possibility of life on Europa is a motivating force for scientists and engineers around the world. This solicitation will select instruments which may provide a big leap in our search to answer the question: are we alone in the universe?
The Europa mission is not a guarantee, and it’s unclear just how much money will be allocated to it in the long run. NASA has requested $15 million in fiscal 2015 for the mission, but the mission will naturally be subject to budgetary approvals by Congress. If it passes all obstacles, it would fly sometime in the 2020s, according to information released with the budget earlier this year.
In April, NASA sent out a request for information to interested potential participants on the mission itself, which it plans to cost less than $1 billion (excluding launch costs). Besides its desire to look for landing sites, NASA said the instruments should also be targeted to meet the National Resource Council’s (NRC) Planetary Decadal Survey’s desires for science on Europa.
In NASA’s words, these are what those objectives are:
Characterize the extent of the ocean and its relation to the deeper interior;
Characterize the ice shell and any subsurface water, including their heterogeneity, and the nature of surface-ice-ocean exchange;
Determine global surface, compositions and chemistry, especially as related to habitability;
Understand the formation of surface features, including sites of recent or current activity, identify and characterize candidate sites for future detailed exploration;
Understand Europa’s space environment and interaction with the magnetosphere.
According to the agency, any instrument proposal must meet NASA’s landing scout goal or the NRC goals. The instruments must also be highly protected against the harsh radiation, and meet planetary protection requirements to ensure no extraterrestrial life is contaminated with our own. In essence, this means than any instruments must be safeguarded against carrying bacteria that could play havoc with Europan microbes or (do we dare to dream!) more complex organisms.
Solicitations are due by Oct. 17, so if you’ve got an idea and think it might make the cut, consult the following solicitation page and have a look at what NASA is looking for. Personally, I got nothing. But that’s why they don’t pay me the big bucks! No, like most of humanity, I will simply be sitting back and hoping that a mission to Europa happens within my lifetime, and that it uncovers – to quote Arthur C. Clarke’s 201o: Odyssey Two – “something wonderful”…
It’s been a long while since I did a book review, mainly because I’ve been immersed in my writing. But sooner or later, you have to return to the source, right? As usual, I’ve been reading books that I hope will help me expand my horizons and become a better writer. And with that in mind, I thought I’d finally review a book I finished reading some months ago, one which was I read in the hopes of learning my craft.
It’s called Accelerando, one of Charle’s Stross better known works that earned him the Hugo, Campbell, Clarke, and British Science Fiction Association Awards. The book contains nine short stories, all of which were originally published as novellas and novelettes in Azimov’s Science Fiction. Each one revolves around the Mancx family, looking at three generations that live before, during, and after the technological singularity.
This is the central focus of the story – and Stross’ particular obsession – which he explores in serious depth. The title, which in Italian means “speeding up” and is used as a tempo marking in musical notation, refers to the accelerating rate of technological progress and its impact on humanity. Beginning in the 21st century with the character of Manfred Mancx, a “venture altruist”; moving to his daughter Amber in the mid 21st century; the story culminates with Sirhan al-Khurasani, Amber’s son in the late 21st century and distant future.
In the course of all that, the story looks at such high-minded concepts as nanotechnology, utility fogs, clinical immortality, Matrioshka Brains, extra-terrestrials, FTL, Dyson Spheres and Dyson Swarms, and the Fermi Paradox. It also takes a long-view of emerging technologies and predicts where they will take us down the road.
And to quote Cory Doctorw’s own review of the book, it essentially “Makes hallucinogens obsolete.”
Plot Synopsis: Part I, Slow Takeoff, begins with the short story “Lobsters“, which opens in early-21st century Amsterdam. Here, we see Manfred Macx, a “venture altruist”, going about his business, making business ideas happen for others and promoting development. In the course of things, Manfred receives a call on a courier-delivered phone from entities claiming to be a net-based AI working through a KGB website, seeking his help on how to defect.
Eventually, he discovers the callers are actually uploaded brain-scans of the California spiny lobster looking to escape from humanity’s interference. This leads Macx to team up with his friend, entrepreneur Bob Franklin, who is looking for an AI to crew his nascent spacefaring project—the building of a self-replicating factory complex from cometary material.
In the course of securing them passage aboard Franklin’s ship, a new legal precedent is established that will help define the rights of future AIs and uploaded minds. Meanwhile, Macx’s ex-fiancee Pamela pursues him, seeking to get him to declare his assets as part of her job with the IRS and her disdain for her husband’s post-scarcity economic outlook. Eventually, she catches up to him and forces him to impregnate and marry her in an attempt to control him.
The second story, “Troubador“, takes place three years later where Manfred is in the middle of an acrimonious divorce with Pamela who is once again seeking to force him to declare his assets. Their daughter, Amber, is frozen as a newly fertilized embryo and Pamela wants to raise her in a way that would be consistent with her religious beliefs and not Manfred’s extropian views. Meanwhile, he is working on three new schemes and looking for help to make them a reality.
These include a workable state-centralized planning apparatus that can interface with external market systems, a way to upload the entirety of the 20th century’s out-of-copyright film and music to the net. He meets up with Annette again – a woman working for Arianspace, a French commercial aerospace company – and the two begin a relationship. With her help, his schemes come together perfectly and he is able to thwart his wife and her lawyers. However, their daughter Amber is then defrosted and born, and henceforth is being raised by Pamela.
The third and final story in Part I is “Tourist“, which takes place five years later in Edinburgh. During this story, Manfred is mugged and his memories (stored in a series of Turing-compatible cyberware) are stolen. The criminal tries to use Manfred’s memories and glasses to make some money, but is horrified when he learns all of his plans are being made available free of charge. This forces Annabelle to go out and find the man who did it and cut a deal to get his memories back.
Meanwhile, the Lobsters are thriving in colonies situated at the L5 point, and on a comet in the asteroid belt. Along with the Jet Propulsion Laboratory and the ESA, they have picked up encrypted signals from outside the solar system. Bob Franklin, now dead, is personality-reconstructed in the Franklin Collective. Manfred, his memories recovered, moves to further expand the rights of non-human intelligences while Aineko begins to study and decode the alien signals.
Part II, Point of Inflection, opens a decade later in the early/mid-21st century and centers on Amber Macx, now a teen-ager, in the outer Solar System. The first story, entitled “Halo“, centers around Amber’s plot (with Annette and Manfred’s help) to break free from her domineering mother by enslaving herself via s Yemeni shell corporation and enlisting aboard a Franklin-Collective owned spacecraft that is mining materials from Amalthea, Jupiter’s fourth moon.
To retain control of her daughter, Pamela petitions an imam named Sadeq to travel to Amalthea to issue an Islamic legal judgment against Amber. Amber manages to thwart this by setting up her own empire on a small, privately owned asteroid, thus making herself sovereign over an actual state. In the meantime, the alien signals have been decoded, and a physical journey to an alien “router” beyond the Solar System is planned.
In the second story “Router“, the uploaded personalities of Amber and 62 of her peers travel to a brown dwarf star named Hyundai +4904/-56 to find the alien router. Traveling aboard the Field Circus, a tiny spacecraft made of computronium and propelled by a Jupiter-based laser and a lightsail, the virtualized crew are contacted by aliens.
Known as “The Wunch”, these sentients occupy virtual bodies based on Lobster patterns that were “borrowed” from Manfred’s original transmissions. After opening up negotiations for technology, Amber and her friends realize the Wunch are just a group of thieving, third-rate “barbarians” who have taken over in the wake of another species transcending thanks to a technological singularity. After thwarting The Wunch, Amber and a few others make the decision to travel deep into the router’s wormhole network.
In the third story, “Nightfall“, the router explorers find themselves trapped by yet more malign aliens in a variety of virtual spaces. In time, they realize the virtual reaities are being hosted by a Matrioshka brain – a megastructure built around a star (similar to a Dyson’s Sphere) composed of computronium. The builders of this brain seem to have disappeared (or been destroyed by their own creations), leaving an anarchy ruled by sentient, viral corporations and scavengers who attempt to use newcomers as currency.
With Aineko’s help, the crew finally escapes by offering passage to a “rogue alien corporation” (a “pyramid scheme crossed with a 419 scam”), represented by a giant virtual slug. This alien personality opens a powered route out, and the crew begins the journey back home after many decades of being away.
Part III, Singularity, things take place back in the Solar System from the point of view of Sirhan – the son of the physical Amber and Sadeq who stayed behind. In “Curator“, the crew of the Field Circus comes home to find that the inner planets of the Solar System have been disassembled to build a Matrioshka brain similar to the one they encountered through the router. They arrive at Saturn, which is where normal humans now reside, and come to a floating habitat in Saturn’s upper atmosphere being run by Sirhan.
The crew upload their virtual states into new bodies, and find that they are all now bankrupt and unable to compete with the new Economics 2.0 model practised by the posthuman intelligences of the inner system. Manfred, Pamela, and Annette are present in various forms and realize Sirhan has summoned them all to this place. Meanwhile, Bailiffs—sentient enforcement constructs—arrive to “repossess” Amber and Aineko, but a scheme is hatched whereby the Slug is introduced to Economics 2.0, which keeps both constructs very busy.
In “Elector“, we see Amber, Annette, Manfred and Gianna (Manfred’s old political colleague) in the increasingly-populated Saturnian floating cities and working on a political campaign to finance a scheme to escape the predations of the “Vile Offspring” – the sentient minds that inhabit the inner Solar System’s Matrioshka brain. With Amber in charge of this “Accelerationista” party, they plan to journey once more to the router network. She loses the election to the stay-at-home “conservationista” faction, but once more the Lobsters step in to help by offering passage to uploads on their large ships if the humans agree to act as explorers and mappers.
In the third and final chapter, “Survivor“, things fast-forward to a few centuries after the singularity. The router has once again been reached by the human ship and humanity now lives in space habitats throughout the Galaxy. While some continue in the ongoing exploration of space, others (copies of various people) live in habitats around Hyundai and other stars, raising children and keeping all past versions of themselves and others archived.
Meanwhile, Manfred and Annette reconcile their differences and realize they were being manipulated all along. Aineko, who was becoming increasingly intelligent throughout the decades, was apparently pushing Manfred to fulfill his schemes to help bring the humanity to the alien node and help humanity escape the fate of other civilizations that were consumed by their own technological progress.
Summary: Needless to say, this book was one big tome of big ideas, and could be mind-bendingly weird and inaccessible at times! I’m thankful I came to it when I did, because no one should attempt to read this until they’ve had sufficient priming by studying all the key concepts involved. For instance, don’t even think about touching this book unless you’re familiar with the notion of the Technological Singularity. Beyond that, be sure to familiarize yourself with things like utility fogs, Dyson Spheres, computronium, nanotechnology, and the basics of space travel.
You know what, let’s just say you shouldn’t be allowed to read this book until you’ve first tackled writers like Ray Kurzweil, William Gibson, Arthur C. Clarke, Alastair Reynolds and Neal Stephenson. Maybe Vernon Vinge too, who I’m currently working on. But assuming you can wrap your mind around the things presented therein, you will feel like you’ve digested something pretty elephantine and which is still pretty cutting edge a decade or more years after it was first published!
But to break it all down, the story is essentially a sort of cautionary tale of the dangers of the ever-increasing pace of change and advancement. At several points in the story, the drive toward extropianism and post-humanity is held up as both an inevitability and a fearful prospect. It’s also presented as a possible explanation for the Fermi Paradox – which states that if sentient life is statistically likely and plentiful in our universe, why has humanity not observed or encountered it?
According to Stross, it is because sentient species – which would all presumably have the capacity for technological advancement – will eventually be consumed by the explosion caused by ever-accelerating progress. This will inevitably lead to a situation where all matter can be converted into computing space, all thought and existence can be uploaded, and species will not want to venture away from their solar system because the bandwidth will be too weak. In a society built on computronium and endless time, instant communication and access will be tantamount to life itself.
All that being said, the inaccessibility can be tricky sometimes and can make the read feel like its a bit of a labor. And the twist at the ending did seem like it was a little contrived and out of left field. It certainly made sense in the context of the story, but to think that a robotic cat that was progressively getting smarter was the reason behind so much of the story’s dynamic – both in terms of the characters and the larger plot – seemed sudden and farfetched.
And in reality, the story was more about the technical aspects and deeper philosophical questions than anything about the characters themselves. As such, anyone who enjoys character-driven stories should probably stay away from it. But for people who enjoy plot-driven tales that are very dense and loaded with cool technical stuff (which describes me pretty well!), this is definitely a must-read.
Now if you will excuse me, I’m off to finish Vernor Vinge’s Rainbow’s End, another dense, sometimes inaccessible read!
Imagine if you will a long tether made of super-tensile materials, running 100,000 km from the Earth and reaching into geostationary orbit. Now imagine that this tether is a means of shipping people and supplies into orbit, forever removing the need for rockets and shuttles going into space. For decades, scientists and futurists have been dreaming about the day when a “Space Elevator” would be possible; and according to a recent study, it could become a reality by 2035.
The report was launched by the International Academy of Astronautics (IAA), a 350-page report that lays out a detailed case for a space elevator. At the center of it that will reach beyond geostationary orbit and held taught by an anchor weighing roughly two million kilograms (2204 tons). Sending payloads up this backbone could fundamentally change the human relationship with space, with the equivalent of a space launch happening almost daily.
The central argument of the paper — that we should build a space elevator as soon as possible — is supported by a detailed accounting of the challenges associated with doing so. The possible pay-off is as simple: a space elevator could bring the cost-per-kilogram of launch to geostationary orbit from $20,000 to as little as $500. Not only would be it useful for deploying satellites, it would also be far enough up Earth’s gravity well to be able to use it for long-range missions.
This could include the long-awaited mission to Mars, where a shuttle would push off from the top and then making multiple loops around the Earth before setting off for the Red Planet. This would cut huge fractions off the fuel budget, and would also make setting up a base on the Moon (or Mars) a relatively trivial affair. Currently, governments and corporations spend billions putting satellites into space, but a space elevator could pay for itself and ensure cheaper access down the line.
The report lays out a number of technological impediments to a space elevator, but by far the most important is the tether itself. Current materials science has yet to provide a material with the strength, flexibility, and density needed for its construction. Tethers from the EU and Japan are beginning to push the 100-kilometer mark, are still a long way off orbital altitude, and the materials for existing tethers will not allow much additional length.
Projecting current research in carbon nanotubes and similar technologies, the IAA estimates that a pilot project could plausibly deliver packages to an altitude of 1000 kilometers (621 miles) as soon as 2025. With continued research and the help of a successful LEO (low Earth orbit, i.e. between 100 and 1200 miles) elevator, they predict a 100,000-kilometer (62,137-mile) successor will stretch well past geosynchronous orbit just a decade after that.
The proposed design is really quite simple, with a sea platform (or super-ship) anchoring the tether to the Earth while a counterweight sits at the other end, keeping the system taught through centripetal force. For that anchor, the report argues that a nascent space elevator should be stabilized first with a big ball of garbage – one composed of retired satellites, space debris, and the cast-off machinery used to build the elevator’s own earliest stages.
To keep weight down for the climbers (the elevator cars), this report imagines them as metal skeletons strung with meshes of carbon nanotubes. Each car would use a two-stage power structure to ascend, likely beginning with power from ground- or satellite-based lasers, and then the climber’s own solar array. The IAA hopes for a seven-day climb from the base to GEO — slow, but still superior and far cheaper than the rockets that are used today.
One thing that is an absolute must, according to the report, is international cooperation. This is crucial not only for the sake of financing the elevator’s construction, but maintaining its neutrality. In terms of placement, IAA staunchly maintains that a space elevator would be too precious a resource to be built within the territory of any particular nation-state. Though every government would certainly love a space elevator of their very own, cost considerations will likely make that impossible in the near-term.
By virtue of its physical size, a space elevator will stretch through multiple conflicting legal zones, from the high seas to the “territorial sky” to the “international sky” to outer space itself, presenting numerous legal and political challenges. Attacks by terrorists or enemies in war are also a major concern, requiring that it be defended and monitored at all levels. And despite being a stateless project, it would require a state’s assets to maintain, likely by the UN or some new autonomous body.
In 2003, Arthur C. Clarke famously said that we will build a space elevator 10 years after they stop laughing. Though his timeline may have been off, as if often the case – for example, we didn’t have deep space missions or AIs by 2001 – sentiments were bang on. The concept of a space elevator is taken seriously at NASA these days, as it eyes the concept as a potential solution for both shrinking budgets and growing public expectations.
Space is quickly becoming a bottleneck in the timeline of human technological advancement. From mega-telescopes and surveillance nets to space mining operations and global high-speed internet coverage, most of our biggest upcoming projects will require better access to space than our current methods can provide for. And in addition to providing for that support, this plans highlights exactly how much further progress in space depends on global cooperation.
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!
The year of 2013 closed with many interesting stories about the coming age of space exploration. And they came from many fronts, including the frontiers of exploration (Mars and the outer Solar System) as well as right here at home, on the conceptual front. In the case of the latter, it seems that strides made in the field are leading to big plans for sending humans into orbit, and into deep space.
The first bit of news comes from Reaction Engines Limited, where it seems that the Skylon space plane is beginning to move from the conceptual stage to a reality. For some time now, the British company has been talked about, thanks to their plans to create a reusable aerospace jet that would be powered by a series of hypersonic engines.
And after years of research and development, the hypersonic Sabre Engine passed a critical heat tolerance and cooling test. Because of this, Reaction Engines Limited won an important endorsement from the European Space Agency. Far from being a simple milestone, this test may prove to be historic. Or as Skymania‘s Paul Sutherland noted, it’s “the biggest breakthrough in flight technology since the invention of the jet engine.”
Now that Reaction Engines has proven that they can do this, the company will be looking for £250 million (approx $410 million) of investment for the next step in development. This will include the development of the LapCat, a hypersonic jet that will carry 300 passengers around the world in less than four hours; and the Skylon, which will carry astronauts, tourists, satellites and space station components into orbit.
Speaking at the press conference after the test in late November, ESA’s Mark Ford had this to say:
ESA are satisfied that the tests demonstrate the technology required for the Sabre engine development. One of the major obstacles to a reusable vehicle has been removed. The gateway is now open to move beyond the jet age.
The Sabre engine is the crucial piece in the reusable space plane puzzle, hence why this test was so crucial. Once built and operational, Skylon will take off and land like a conventional plane, but still achieve orbit by mixing air-breathing jets for takeoff, and landing with rockets fueled by onboard oxygen once it gets past a certain speed.
The recent breakthrough had to do to the development of a heat exchanger that’s able to cool air sucked into the engine at high speed from 1,000 degrees Celsius to minus 150 degrees in one hundredth of a second. It’s this critical technology that will allow the Sabre engine to surpass the bounds of a traditional jet engine, by as much as twofold.
Alan Bond, the engineering genius behind the invention, had this to say about his brainchild:
These successful tests represent a fundamental breakthrough in propulsion technology. The Sabre engine has the potential to revolutionise our lives in the 21st century in the way the jet engine did in the 20th Century. This is the proudest moment of my life.
And of course, there’s a video of the engine in action. Check it out:
Second, and perhaps in response to these and other developments, the British Interplanetary Society is resurrecting a forty year old idea. This society, which came up with the idea to send a multi-stage rocket and a manned lander to the moon in the 1930’s (eerily reminiscent of the Apollo 11 mission some 30 years later) is now reconsidering plans for giant habitats in space.
To make the plan affordable and feasible, they are turning to a plan devised by Gerard O’Neill back in the 1970s. Commonly known as the O’Neill Cylinder, the plan calls for space-based human habitats consisting of giant rotating spaceships containing landscaped biospheres that can house up to 10 million people. The cylinder would rotate to provide gravity and – combined with the interior ecology – would simulate a real-world environment.
Jerry Stone of BIS’s SPACE (Study Project Advancing Colony Engineering) is trying to show that building a very large space colony is technically feasible. Part of what makes the plan work is the fact that O’Neill deliberately designed the structure using existing 1970s technology, materials and construction techniques, rather than adopting futuristic inventions.
Stone is bringing these plans up to date using today’s technologies. Rather than building the shell from aluminium, for example, Stone argues tougher and lighter carbon composites could be used instead. Advances in solar cell and climate control technologies could also be used to make life easier and more comfortable in human space colonies.
One of the biggest theoretical challenges O’Neill faced in his own time was the effort and cost of construction. That, says Stone, will be solved when a new generation of much cheaper rocket launchers and spaceplanes has been developed (such as the UK-built Skylon). Using robot builders could also help, and other futuristic construction techniques like 3-D printing robots and even nanomachines and bacteria could be used.
And as Stone said, much of the materials could be outsourced, taking advantage of the fact that this would be a truly space-aged construction project:
Ninety per cent of the material to build the colonies would come from the Moon. We know from Apollo there’s silicon for the windows, and aluminium, iron and magnesium for the main structure. There’s even oxygen in the lunar soil.
Fans of Arthur C. Clarke’s Rendezvous with Rama, the series Babylon 5 or the movie Elysium out to instantly recognize this concept. In addition to being a very real scientific concept, it has also informed a great deal of science fiction and speculation. For some time, writers and futurists have been dreaming of a day when humanity might live in space habitats that can simulate terrestrial life.
Well, that day might be coming sooner than expected. And, as O’Neill and his contemporaries theorized at the time, it may be a viable solution to the possibility of humanity’s extinction. Granted, we aren’t exactly living in fear of nuclear holocaust anymore, but ecological collapse is still a threat! And with the Earth’s population set to reach 12 billion by the 22nd century, it might be an elegant solution to getting some of those people offworld.
It’s always an exciting thing when hopes and aspirations begin to become feasible. And though aerospace transit is likely to be coming a lot sooner than O’Neill habitats in orbit, the two are likely to compliment each other. After all, jet planes that can reach orbit, affordably and efficiently, is the first step in making offworld living a reality!
Until next time, keep your eyes to the skies. Chances are, people will be looking back someday soon…
Amongst the sci-fi greats of old, there were few authors, scientists and futurists more influential than Isaac Asimov and Arthur C. Clarke. And as individuals who constantly had one eye to the world of their day, and one eye to the future, they had plenty to say about what the world would look like by the 21st century. And interestingly enough, 2014 just happens to be the year where much of what they predicted was meant to come true.
For example, 50 years ago, Asimov wrote an article for the New York Times that listed his predictions for what the world would be like in 2014. The article was titled “Visit to the World’s Fair of 2014”, and contained many accurate, and some not-so-accurate, guesses as to how people would be living today and what kinds of technology would be available to us.
Here are some of the accurate predictions:
1. “By 2014, electroluminescent panels will be in common use.” In short, electroluminescent displays are thin, bright panels that are used in retail displays, signs, lighting and flat panel TVs. What’s more, personal devices are incorporating this technology, in the form of OLED and AMOLED displays, which are both paper-thin and flexible, giving rise to handheld devices you can bend and flex without fear of damaging them.
2. “Gadgetry will continue to relieve mankind of tedious jobs.” Oh yes indeed! In the last thirty years, we’ve seen voicemail replace personal assistants, secretaries and message boards. We’ve seen fax machines replace couriers. We’ve seen personal devices and PDAs that are able to handle more and more in the way of tasks, making it unnecessary for people to consult a written sources of perform their own shorthand calculations. It’s a hallmark of our age that personal technology is doing more and more of the legwork, supposedly freeing us to do more with our time.
3. “Communications will become sight-sound and you will see as well as hear the person you telephone.” This was a popular prediction in Asimov’s time, usually taking the form of a videophone or conversations that happened through display panels. And the rise of the social media and telepresence has certainly delivered on that. Services like Skype, Google Hangout, FaceTime and more have made video chatting very common, and a viable alternative to a phone line you need to pay for.
4. “The screen can be used not only to see the people you call but also for studying documents and photographs and reading passages from books.” Multitasking is one of the hallmarks of modern computers, handheld devices, and tablets, and has been the norm for operating systems for some time. By simply calling up new windows, new tabs, or opening up multiple apps simultaneously and simply switching between them, users are able to start multiple projects, or conduct work and view video, take pictures, play games, and generally behave like a kid with ADHD on crack if they so choose.
5. “Robots will neither be common nor very good in 2014, but they will be in existence.” If you define “robot” as a computer that looks and acts like a human, then this guess is definitely true. While we do not have robot servants or robot friends per se, we do have Roomba’s, robots capable of performing menial tasks, and even ones capable of imitating animal and even human movements and participating in hazardous duty exercises (Google the DARPA Robot Challenge to see what I mean).
Alas, he was off on several other fronts. For example, kitchens do not yet prepare “automeals” – meaning they prepare entire meals for us at the click of a button. What’s more, the vast majority of our education systems is not geared towards the creation and maintenance of robotics. All surfaces have not yet been converted into display screens, though we could if we wanted to. And the world population is actually higher than he predicted (6,500,000,000 was his estimate).
As for what he got wrong, well… our appliances are not powered by radioactive isotopes, and thereby able to be entirely wireless (though wireless recharging is becoming a reality). Only a fraction of students are currently proficient in computer language, contrary to his expectation that all would be. And last, society is not a place of “enforced leisure”, where work is considered a privilege and not a burden. Too bad too!
And when it comes to the future, there are few authors whose predictions are more trusted than Arthur C. Clarke. In addition to being a prolific science fiction writer, he wrote nearly three dozen nonfiction books and countless articles about the future of space travel, undersea exploration and daily life in the 21st century.
And in a recently released clip from a 1974 ABC News program filmed in Australia, Clarke is shown talking to a reporter next to a massive bank of computers. With his son in tow, the reporter asks Clarke to talk about what computers will be like when his son is an adult. In response, Clarke offers some eerily prophetic, if not quite spot-on, predictions:
The big difference when he grows up, in fact it won’t even wait until the year 2001, is that he will have, in his own house, not a computer as big as this, but at least a console through which he can talk to his friendly local computer and get all the information he needs for his everyday life, like his bank statements, his theater reservations, all the information you need in the course of living in a complex modern society. This will be in a compact form in his own house.
In short, Clarke predicted not only the rise of the personal computer, but also online banking, shopping and a slew of internet services. Clarke was then asked about the possible danger of becoming a “computer-dependent” society, and while he acknowledged that in the future humanity would rely on computers “in some ways,” computers would also open up the world:
It’ll make it possible for us to live really anywhere we like. Any businessman, any executive, could live almost anywhere on Earth and still do his business through his device like this. And this is a wonderful thing.
Clarke certainly had a point about computers giving us the ability to communicate from almost anywhere on the globe, also known as telecommunication, telecommuting and telepresence. But as to whether or not our dependence on this level of technology is a good or bad thing, the jury is still out on that one. The point is, his predictions proved to be highly accurate, forty years in advance.
Granted, Clarke’s predictions were not summoned out of thin air. Ever since their use in World War II as a means of cracking Germany’s cyphers, miniaturization has been the trend in computing. By the 1970’s, they were still immense and clunky, but punch cards and vacuum tubes had already given way to transistors, ones which were getting smaller all the time.
And in 1969, the first operational packet network to implement a Transmission Control Protocol and Internet Protocol (TCP/IP) was established. Known as a Advanced Research Projects Agency Network (or ARPANET), this U.S. Department of Defense network was set up to connect the DOD’s various research projects at universities and laboratories all across the US, and was the precursor to the modern internet.
In being a man who was so on top of things technologically, Clarke accurately predicted that these two trends would continue into the foreseeable future, giving rise to computers small enough to fit on our desks (rather than taking up an entire room) and networked with other computers all around the world via a TCP/IP network that enabled real-time data sharing and communications.
And in the meantime, be sure to check out the Clarke interview below: