First announced in 2012, the Qualcomm Tricorder XPRIZE has sought to bring together the best and brightest minds in the field together to make science fiction science fact. In short, they sought to create a handheld device that could would mimic some of the key functions of the iconic Star Trek tricorder, allowing consumers access to reliable, easy to use diagnostic equipment any time, anywhere, with near instantaneous results.
And now, the list of potential candidates has been whittled down to ten finalists. And while they might be able to live up to the fictitious original, the devices being developed are quite innovative and could represent a significant technological advancement in the diagnostic domain. Qualcomm is offering a US$10 million prize purse in the hope of stimulating the research and development of precision diagnostic equipment.
In order to qualify for the prize, the successful scanner must comply with an ambitious set of parameters. First, the device must be able to reliably capture an individual’s heart rate, respiratory rate, blood pressure, and oxygen saturation in an easy to use and completely non-invasive fashion. It must also diagnose 13 core diseases – including pneumonia, tuberculosis and diabetes – along with three additional health conditions to be chosen by each team.
Each device varies widely in terms of appearance and composition, but that’s hardly surprising. The only limitations placed on the teams in terms of construction is that the entire apparatus must have a mass of less than 2.3kg (5 lb). Due to the wide range of tests needed to be carried out by the tricorder in order to capture the necessary health metrics, it is highly unlikely that any of the scanners will take the form of a single device.
The shortlisted entries include Scanadu (pictured above), a company which is currently developing an entire portfolio of handheld medical devices. The circular sensor is programmed to measure blood pressure, temperature, ECG, oximetry, heart rate, and the breathing rate of a patient or subject – all from a simple, ten second scan. Then there’s Aezon, an American-based team comprised of student engineers from Johns Hopkins University, Maryland.
The Aezon device is made up of a wearable Vitals Monitoring Unit – designed to capture oxygen saturation, blood pressure, respiration rate and ECG metrics – and The Lab Box, a small portable device that makes use of microfluidic chip technology in order to diagnose diseases ranging from streptococcal pharyngitis to a urinary tract infection by analyzing biological samples.
The other finalists include CloudDX, a Canadian company from Mississauga, Ontario; Danvantri, from Chennai, India; DMI from Cambridge, Mass; the Dynamical Biomarkers Group from Zhongli City, Taiwan; Final Frontier Medical Devices from Paoli, PA; MESI Simplifying Diagnostics from Ljubljana, Slovenia; SCANurse from London, England; and the Zensor from Belfast, Ireland.
In all cases, the entrants are compact, lightweight and efficient devices that push the information obtained through their multiple sensors to a smartphone or tablet interface. This appears to be done with a proprietary smartphone app via the cloud, where it can also be analyzed by a web application. Users will also be able to access their test results, discover information regarding possible symptoms and use big data to form a possible diagnosis.
The next and final round of tests for the teams will take place next year between November and December. The scanners will be put through a diagnostic competition involving 15-30 patients whilst judges evaluate the consumers user experience. The final test will also assess the scanners’ adequacy in high-frequency data logging, and the overall winners will be announced in early 2016, and awarded the lucrative $10 million prize to develop their product and bring it to market.
If such a device could be simple enough to allow for self-diagnosis by the general public, it could play a key part in alleviating the pressure on overburdened healthcare systems by cutting down on unnecessary hospital visits. It will also be a boon for personalized medicine, making regular hospital visits quicker, easier, and much less expensive. And let’s not forget, it’s science fiction and Trekky-nerd gold!
Be sure to check out the video below that outlines the aims and potential benefits of the Qualcomm Tricorder XPRIZE challenge. And for more information on the finalists, and to see their promotional videos, check out the Qualcomm website here.
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!
Remember those iconic scenes in Star Wars when the Millennium Falcon made the jump to hyperspace? Remember how cool it looked when the star field stretched out and then the ships blasted off? And of course, every episode of Star Trek was punctuated by a jump to warp, where once again, the background stars seemed to stretch out and then hurl on past the Enterprise.
Yes, for generations, this is how people envisioned Faster-Than-Light travel. Whether it consisted of rainbow-colored streaks shooting past, or a quick distortion followed by a long, blue tunnel of bright light, these perceptions have become a staple of science fiction. But one has to wonder… in a universe where FTL was really possible, would it really look anything like this?
Using Einstein’s Theory of Relativity, four students from the University of Leicester produced a paper in January of last year where they theorized what a jump to light-speed would really look like. Based on the theory that the speed of light is the absolute threshold at which elementary particles can move in this universe, the four students – Riley Connors, Katie Dexter, Joshua Argyle, and Cameron Scoular – claimed that a ship that can exceed c would have an interesting view.
In short, they claim that the crew wouldn’t see star lines stretching out past the ship during the jump to hyperspace, but would actually see a central disc of bright light. This is due to the Doppler effect, specifically the Doppler blue shift, that results in the wavelength of electromagnetic radiation, including visible light, shortening as the source of the light moves towards the observer.
As the ship made the jump to hyperspace, the wavelength of the light from the stars would shift out of the visible spectrum into the X-ray range. Meanwhile, Cosmic Background Radiation (CBR), which is thermal radiation that is spread fairly uniformly across the universe and is thought to be left over from the Big Bang, would shift into the visible spectrum, appearing to the crew as a central disc of bright light.
What’s more, even a ship like the Millennium Falcon would require additional energy to overcome the pressure exerted from the intense X-rays from stars that would push the ship back and cause it to slow down. The students say the pressure exerted on the ship would be comparable to that felt at the bottom of the Pacific Ocean.
However, if the ship in question took its time getting up to speeds in excess of the speed of light, there would be some interesting visual effects. Given how light and the color spectrum works, as a ship continued to speed up, the stars in front of the ship would experience blueshift (shifting towards the blue end of the spectrum), while those behind it would experience redshift (shifting towards the red end).
But the moment the threshold of light speed was passed, background radiation would be all that was left to see. And once that happened, the crew would experience some rather intense radiation exposure. As Connors put it:
If the Millennium Falcon existed and really could travel that fast, sunglasses would certainly be advisable. On top of this, the ship would need something to protect the crew from harmful X-ray radiation.
And as Dexter suggested, referring to Disney’s purchase of Lucasfilm for a cool $4.05 billion: “Disney should take the physical implications of such high speed travel into account in their forthcoming films.” I won’t be holding my breath on that one. Somehow, star lines look so much cooler than a mottled, bright disc in the background, don’t you think?
NASA has made some buzz with its announcement to print 3D pizza in space. And while this might sound like an awesome and appetizing use of the pioneering technology, it also has some pretty exciting implications for space exploration. For decades, astronauts have relied on freeze dried and thermostabilized food to meet their nutritional needs. But with 3D printing being considered, astronauts of the future could be using something akin to a replicator out of Star Trek.
Earlier this month, Quartz broke the news that NASA’s Systems & Materials Research Corporation received a $125,000 grant to spend six months building a prototype of a 3-D food printer- one that will be able to print out a tasty pizza before venturing on to other food items. According to his NASA proposal, the printer spits out starches, proteins, fats, texture, and structure, while the inkjet sprays on flavor, smell, and micronutrients.
The pizza printer is the brainchild of Anjan Contractor, a mechanical engineer at the Systems & Materials Research Corporation who has long worked on 3-D printing technologies. In an interview with Quartz, he explained the process:
It works by first “printing” a layer of dough, which is baked at the same time it’s printed, by a heated plate at the bottom of the printer. Then it lays down a tomato base, “which is also stored in a powdered form, and then mixed with water and oil,” says Contractor. Finally, the pizza is topped with the delicious-sounding “protein layer,” which could come from any source, including animals, milk or plants.
As already mentioned, astronauts currently rely on food that is freeze dried prepackaged so that it can be eaten in microgravity. Astronauts get supplies when necessary from the International Space Station, where cargo vehicles transport their “fresh” food. But future astronauts who go to more distant places, like Mars, won’t be able to resupply. And that’s where the Advanced Food Project really comes into play.
When considering missions to Mars and farther into space, multiple issues need to be addressed. Grace Douglas, an Advanced Food Technology Project scientist at NASA, explains what these are and how 3D food can address them:
This is the only food that the crew members will have, so it needs to maintain its nutrition content for the length of the mission, and it has to be acceptable. If they don’t want to eat it, they won’t eat enough… 3-D food printers are looking at providing powdered forms of ingredients, and these would not be processed ahead.
That’s a good thing: minimally processed food has more nutrients, and it’s tastier. It also allows for even more options than what’s available today. And to address another key problem – printing in microgravity – NASA already has the option of using some of the more advanced prototypes.
Consider the Mataerial, a recently-developed 3D printer that is capable of printing in zero-gravity. NASA is exploring other processing technologies outside of the 3-D printing realm as well. High-pressure processing, which uses high pressures with a low-heat treatment to sterilize foods, is one option. Another is microwave sterilization–a process that uses high-heat treatments for a shorter period of time.
These latter technologies would make fresh foods accessible by ensuring that they are perfectly sterile, thus removing the need for food that needs to be dried or processed in advance. While all three technologies are still in the early phases of development, Douglas and others expect that they will off the ground and running by the time a manned mission to Mars is being planned.
And space is really just the tip of the iceberg when it comes to printing food. Here on Earth, it is a potential solution for ending world hunger. But that’s another, very interesting story. Stay tuned for it…
In the meantime, watch this video of a 3-D printer creating chocolate:
Hello folks! This weekend, I finally managed to get my butt to the movie theater to catch a summer blockbuster. It was the first time in months, perhaps a year, that the wife and I caught a movie on the big screen. And as my geekiness demanded, the movie we caught was the second installment in the J.J. Abrams relaunch of the classic franchise: Star Trek Into Darkness. And while I am obliged to provide a review, I am also bound by the spoiler code, so what I am about to say shall be as vague as I can possibly make it.
As I’m sure you all know, the second act in any series is meant to be the dark one. And while it is hard to top an event like the loss of an entire planet – Vulcan getting obliterated in the first film – this movie really did revolve around a certain downturn in the series. In addition to their being the concept of the enemy within, there is also the prospect of impending war, of vengeance overpowering good reason, and people sacrificing who and what they are in the process.
Not only did all this call to mind some of the larger ethical concerns arising out of the “War on Terror” – such as vengeance vs. justice, preemptive violence, and being rulec by fear – there was an even a dedication at the end of the film to all veterans who have served since September 11th, 2001. Apparently, this was because the makers knew the movie would be released in 2013, when many soldiers overseas would be returning home.
And of course, the movie was also an homage to the second installment in the original series. As I was forewarned going in, though not in any detail, this movie pays tribute to The Wrath of Khan in many places. While this was to be expected – I too suspected as much from several early hints – it did get a little tedious at times. After awhile, it didn’t so much feel like a wink and a nod as much as a repetitious pattern.
Still, the pace of the film, the big reveals, and the way it all played into the original story arc, but again with changes due to the temporal shift that took place in the first movie, all made for a very exciting and awesome experience. A couple of times I looked over to my wife and whispered “I knew it!”, and I quietly screamed my applause at the end. She laughed, I explained things to her, it was all good!
So if you haven’t seen it yet, and consider yourself a Trekkie, geek, fan of action sci-fi, or all of the above, get on out and catch this movie before the summer is out!
My good buddy, Fraser Cain, a co-inventor and publisher over at Universe Today, has just unveiled a new podcast series which I strongly recommend to anyone who loves space, science, and fiction pertaining to them. Those who follow this site may recognize the name, as Universe Today just happens to be my go-to source for all things space related. From the Curiosity Rover and the Cassini Probe to the mysteries of life on Earth and the universe at large, these guys can be trusted to be in the know!
I even had the honor of writing articles to them for about a year and a half, and I credit this experience with honing my ability to take hard science, gain a basic understanding of it, and then convey it to a general audience in an understandable fashion. Yes, before I worked for these guys, I was truly a geek-in-waiting, someone who didn’t know their quasars from their quarks. Now… well, I’m a little better!
In any case, the podcast series is called Space Stations, and comprises four episodes that take a look at man-made structures in space, beginning with Salyut and Skylab – the earliest Soviet and American attempts to put a manned station into orbit – and then moving onto Russia’s Mir space station, the International Space Station (ISS), and then taking a look at what the future holds for humans living and working in space.
You can check out the series at their website here, or just head on over to Astronomy Cast, the site for Universe Today‘s podcasts, and start listening willy-nilly. Me, my favorite is the fourth and final episode which takes a look at the future of space stations, and anyone claiming to know the first thing about me will not wonder why! I mean, c’mon, future of space, what’s not to love about that???
And of course, you can check out their voluminous archives, which contain podcasts on subjects ranging from Aliens to Physics, Astronomy to Planetary Science, and the history of space flight to current missions and the future of space exploration. I can promise you that if you’re the kind of person who finds the science jokes in The Big Bang Theory hilarious, you will feel like a kid in a candy store!
Trivia Question: Where does the name Universe Today come from? If you answer this question (no Googling!) you will have my enduring respect forever!
Here we have the hilarious satire group that produces musical parodies under the name “The Key of Awesome”, back for more with a parody of Star Trek. Most likely made in honor of the honor of the successful relaunch of the franchise, here we see Spock and a lady Vulcan subordinate come together for Pon Farr. And of course, its all done to the tune of a particular slow jam, with hilarious results!
I have yet to see Into Darkness, but I’m lobbying hard to accomplish this that weekend. How can I be expected to do reviews and keep up with the latest in pop culture and science fiction if I don’t occasionally get out to see a vastly overpriced relaunch??? Enjoy the video: