Tag: Science Fiction

Building a Dyson sphere using ChatGPT

Posted on by Ashutosh Jogalekar

by Ashutosh Jogalekar

Artist’s rendering of a Dyson sphere (Image credit)

In 1960, physicist Freeman Dyson published a paper in the journal Science describing how a technologically advanced civilization would make its presence known. Dyson’s assumption was that whether an advanced civilization signals its intelligence or hides it from us, it would not be able to hide the one thing that’s essential for any civilization to grow – energy. Advanced civilizations would likely try to capture all the energy of their star to grow.

For doing this, borrowing an idea from Olaf Stapledon, Dyson imagined the civilization taking apart a number of the planets and other material in their solar system to build a shell of material that would fully enclose their planet, thus capturing far more of the heat than what they could otherwise. This energy-capturing sphere would radiate its enormous waste heat out in the infrared spectrum. So one way to find out alien civilizations would be to look for signatures of this infrared radiation in space. Since then these giant spheres – later sometimes imagined as distributed panels rather than single continuous shells – that can be constructed by advanced civilizations to capture their star’s energy have become known as Dyson spheres. They have been featured in science fiction books and TV shows including Star Trek.

I asked AI engine chatGPT to build me a hypothetical 2 meter thick Dyson sphere at a distance of 2 AU (~300 million kilometers). I wanted to see how efficiently chatGPT harnesses information from the internet to give me specifics and how well its large language model (LLM) of computation understood what I was saying. Read more »



Monday, July 19, 2021

From “Forbidden Planet” to “The Terminator”: 1950s techno-utopia and the dystopian future

Posted on by Bill Benzon

by Bill Benzon

When I was growing up in the 1950s and 1960s Westerns were pervasive on television and at the movies. Where they the dominant genre of the era? Perhaps, I don’t really know. But whatever the numbers say, the were very important. Correlatively, science fiction was a relatively minor genre, both on television and on the big screen. Now the situation is reversed. Science fiction is pervasive while Westerns, if not as scarce as hens teeth, certainly do not command the broad attention they once did.

What are we to make of this? Westerns look to the past, to the founding of America. How the West Was Won (1962) was the story of America, and it won three Academy Awards. The bespeak and confident America. Star Trek is a bit different. It, the entire franchise (from 1966 through to the present), is set in the future while America has only a tenuous presence in it, a step back in time every now and then. America is in transit. Similarly, Star Wars, the whole throng of stories, is set in a universe long ago and far away. America has disappeared.

Landing on Altair.

Why? Tastes change, no? Yes, but why? For one thing, America has changed as well. That’s what interests me, the relationship between changes in America and changes on the Big Screen. I want to examine that by focusing on two films, The Forbidden Planet (1956), a science fiction classic from the era when science fiction was a minor genre, and The Terminator (1984), another classic science fiction film, one in a franchise in an era of franchises, and an era when science fiction was becoming pervasive.

The argument I am going to make, a loose argument, a speculative argument, and therefore the most interesting kind of argument we can make about the stories we tell ourselves, is that these are, at the core, the same story. If they are, on the surface, so very different – which they are – that is because they speak to radically different psycho-cultural circumstances. The America of 1956 was confident of itself and of the future. The America of 1982 was badly shaken and searching for itself. Exactly between those two dates, 26 years apart, we have the Apollo moon landing in 1969. Read more »

Monday, December 23, 2019

Dystopians In High Castles

Posted on by Thomas O'Dwyer

by Thomas O’Dwyer

A fallen statue of Nazi American leader John Smith.
A fallen statue of the American Nazi leader, John Smith.

It could have been that simple — the Nazis nuke Washington D.C. and it’s all over. Capitulation follows, resistance is futile. There are plenty of right-wingers in high places — political, military, even cultural, who see this not as a conquest but an opportunity. French Marshal Philippe Pétain and Norway’s Vidkun Quisling had been such people. So too is Obergruppenführer John Smith, their fictional American counterpart in Philip K. Dick’s classic novel The Man in the High Castle. The conquering Nazis offer formerly patriotic American officers light temptations and they casually fall, and then rise. The war is lost, collaboration is inevitable. It’s better to be at the front of the queue, showing some willingness to proclaim (by some small actions) that you accept the times as they are a-changing.

Dick’s novel differs in many aspects from the recently completed Amazon TV series based on it. But in both, the Nazis secure the east side of the country, setting up their capital in New York. The West Coast is messier, but wasn’t it always? On that side of the continent, the Japanese have won. Unlike the stiff-necked and murderously pure Nazis, the Japanese are unabashedly nationalist. They are ruthless occupiers too, but ration their resources to inflict their cruelties on identifiable enemies and resisters. Read more »

Monday, October 6, 2014

Bookworm

Posted on by Carol A Westbrook

by Carol A. Westbrook

To Your Health I gave a signed copy of my new book about beer, “To Your Health!” to a couple of favorite bartenders and a bar owner, all of whom had been featured in a story or two in this book about beer. A few weeks later I asked
each one how he enjoyed the book. And each admitted he hadn't yet opened the book, but assured me he put it in the bathroom. After my initial shock, I recognized that I was being paid the highest compliment. For a non-reader, the bathroom is the place of honor for reading material. A stack of books or magazines in the bathroom means, “this is valuable to me, and I am going to read it some day.”

What a different world than the one in which I live! In my world, books hold a place of honor and, more importantly, books are read. I love books. When I was a kid, the Tooth Fairy left us books. My first Tooth Fairy book was “Harold and the Purple Crayon,” by Crockett Johnson, which today remains my favorite children's book. I loved getting books from the Tooth Fairy, and treasured every one.

Because we were a Catholic family of four children, all of whom attended parochial school, we didn't have much money to spare, but books were always there. My father got many of these books for free, since they were demos at his place of work–he did PR for the Chicago Public Schools. We were fortunate to have a steady supply of children’s' books long after we had our permanent teeth.

Reading was a joyful activity in our family. We children taught each other to read long before we started first grade (there was no kindergarten at St. Hyacinth's School). I remember showing my younger brother how to sound out the letters in words; I was seven and he was three. Family vacations were always preceded by a trip to the library, to stock up on a dozen or so books to take along as we lounged at the lake or drove on our interminable car trips.

I was the bookworm of the family. In fourth grade I breezed through the classics on our classroom bookshelves–“Black Beauty,” “Oliver Twist”, and “Tom Sawyer.” I doubt these books would be considered suitable for a 10 year old today (even if they could read them), featuring abuse of both animals and children.

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And Another ‘Thing’ : Sci-Fi Truths and Nature’s Errors

Posted on by Daniel Rourke

by Daniel Rourke

In my last 3quarksdaily article I considered the ability of science-fiction – and the impossible objects it contains – to highlight the gap between us and ‘The Thing Itself’ (the fundamental reality underlying all phenomena). In this follow-up I ask whether the way these fictional ‘Things’ determine their continued existence – by copying, cloning or imitation – can teach us about our conception of nature.

Seth Brundle: What’s there to take? The disease has just revealed its purpose. We don’t have to worry about contagion anymore… I know what the disease wants.

Ronnie: What does the disease want?

Seth Brundle: It wants to… turn me into something else. That’s not too terrible is it? Most people would give anything to be turned into something else.

Ronnie: Turned into what?

Seth Brundle: Whaddaya think? A fly. Am I becoming a hundred-and-eighty-five-pound fly? No, I’m becoming something that never existed before. I’m becoming… Brundlefly. Don’t you think that’s worth a Nobel Prize or two?

The Fly, 1986

In David Cronenberg’s movie The Fly (1986) we watch through slotted fingers as the body of Seth Brundle is horrifically transformed. Piece by piece Seth becomes Brundlefly: a genetic monster, fused together in a teleportation experiment gone awry. In one tele-pod steps Seth, accompanied by an unwelcome house-fly; from the other pod emerges a single Thing born of their two genetic identities. The computer algorithm designed to deconstruct and reconstruct biology as pure matter cannot distinguish between one entity and another. The parable, as Cronenberg draws it, is simple: if all the world is code then ‘all the world’ is all there is.

Vincent Price in 'The Fly', 1958Science fiction is full of liminal beings. Creatures caught in the phase between animal and human, between alien and Earthly, between the material and the spirit. Flowing directly from the patterns of myth Brundlefly is a modern day Minotaur: a manifestation of our deep yearning to coalesce with natural forces we can’t understand. The searing passions of the bull, its towering stature, are fused in the figure of the Minotaur with those of man. The resultant creature is too fearsome for this world, too Earthly to exist in the other, and so is forced to wander through a labyrinth hovering impossibly between the two. Perhaps Brundlefly’s labyrinth is the computer algorithm winding its path through his genetic code. As a liminal being, Brundlefly is capable of understanding both worlds from a sacred position, between realities. His goal is reached, but at a cost too great for an Earthly being to understand. Seth the scientist sacrifices himself and there is no Ariadne’s thread to lead him back.

In her book on monsters, aliens and Others Elaine L. Graham reminds us of the thresholds these ‘Things’ linger on:

“[H]uman imagination, by giving birth to fantastic, monstrous and alien figures, has… always eschewed the fiction of fixed species. Hybrids and monsters are the vehicles through which it is possible to understand the fabricated character of all things, by virtue of the boundaries they cross and the limits they unsettle.”

Elaine L. Graham, Representations of the Post/Human

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Monday, August 9, 2010

‘The Thing Itself’ : A Sci-Fi Archaeology

Posted on by Daniel Rourke

by Daniel Rourke

Mid-way through H.G.Wells’ The Time Machine, the protagonist stumbles into a sprawling abandoned museum. Sweeping the dust off ancient relics he ponders his machine’s ability to hasten their decay. It is at this point that The Time Traveller has an astounding revelation. The museum is filled with artefacts not from his past, but from his own future: The Time Traveller is surrounded by relics whose potential to speak slipped away with the civilisation that created them.

Having bypassed the normal laws of causality The Time Traveller is doomed to inhabit strands of history plucked from time’s grander web. Unable to grasp a people’s history – the conditions that determine them – one will always misunderstand them.

Archaeology derives from the Greek word arche, which literally means the moment of arising. Aristotle foregrounded the meaning of arche as the element or principle of a Thing, which although indemonstrable and intangible in Itself, provides the conditions of the possibility of that Thing. In a sense, archaeology is as much about the present instant, as it is about the fragmentary past. We work on what remains through the artefacts that make it into our museums, our senses and even our language. But to re-energise those artefacts, to bring them back to life, the tools we have access to do much of the speaking.

The Things ThemselvesLike the unseen civilisations of H.G.Wells’ museum, these Things in Themselves lurk beyond the veil of our perceptions. It is the world in and of Itself; the Thing as it exists distinct from perceptions, from emotions, sensations, from all phenomenon, that sets the conditions of the world available to those senses. Perceiving the world, sweeping dust away from the objects around us, is a constant act of archaeology.

Kant called this veiled reality the noumenon, a label he interchanged with The-Thing-Itself (Ding an Sich). That which truly underlies what one may only infer through the senses. For Kant, and many philosophers that followed, The Thing Itself is impossible to grasp directly. The senses we use to search the world also wrap that world in a cloudy haze of perceptions, misconceptions and untrustworthy phenomena.

In another science fiction classic, Polish writer Stanislaw Lem considered the problem of The Thing Itself as one of communication. His Master’s Voice (HMV), written at the height of The Cold War, tells the story of a team of scientists and their attempts to decipher an ancient, alien message transmitted on the neutrino static streaming from a distant star. The protagonist of this tale, one Peter Hogarth, recounts the failed attempts at translation with a knowing, deeply considered cynicism. To Peter, and to Stanislaw Lem himself, true contact with an alien intelligence is an absolute impossibility:

“In the course of my work… I began to suspect that the ‘letter from the stars’ was, for us who attempted to decipher it, a kind of psychological association test, a particularly complex Rorschach test. For as a subject, believing he sees in the coloured blotches angels or birds of ill omen, in reality fills in the vagueness of the thing shown with what is ‘on his mind’, so did we attempt, behind the veil of incomprehensible signs, to discern the presence of what lay, first and foremost, within ourselves.”

Stanislaw Lem, His Master’s Voice

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