Posts Tagged ‘Science Fiction’
“When I die, I’m leaving my body to science fiction”*…
If Somnium is the first science fiction book (which many people argue is true), then this is probably the first reference to the idea of zero gravity, or weightlessness.
“…for, as magnetic forces of the earth and moon both attract the body and hold it suspended, the effect is as if neither of them were attracting it…” From Somnium (The Dream), by Johannes Kepler.
Published in 1634
Additional resources –Note that the word “gravity” is not used to describe the attraction between masses; Isaac Newton did not describe universal gravitation until 1687…
The first entry in Technovelgy’s (@Technovelgy) “Timeline of Science Fiction Ideas, Technology, and Inventions.” Starting in the 17th century, it contains hundreds of reminders– most linked to info on real-life inventors and inventions that realized the dreams– that imagination is often the inspiration for invention.
* Steven Wright
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As we ponder precursors, we might recall that on this date in 1954 Gog premiered in Los Angeles. The third film in Ivan Tors‘ “Office of Scientific Investigation” (OSI) trilogy, following The Magnetic Monster (1953) and Riders to the Stars (also 1954), it starred Richard Egan, Constance Dowling (in her final big-screen role), and Herbert Marshall in a cautionary tale of killer robots.
“The purpose of a writer is to keep civilization from destroying itself”*…
Traditional “good vs. evil” stories follow a certain pattern: the world starts out as a good place, evil intrudes, good defeats evil, and the world goes back to being a good place. These stories are all about restoring the status quo, so they are implicitly conservative. Real science fiction stories follow a different pattern: the world starts out as a familiar place, a new discovery or invention disrupts everything, and the world is forever changed. These stories show the status quo being overturned, so they are implicitly progressive. (This observation is not original to me; it’s something that scholars of science fiction have long noted.) This was in the context of a discussion about the role of dystopias in science fiction. I said that while some dystopian stories suggest that doom is unavoidable, other ones are intended as cautionary tales, which implies we can do something to avoid the undesirable outcome…
A lot of dystopian stories posit variations on a Mad Max world where marauders roam the wasteland. That’s a kind of change no one wants to see. I think those qualify as doom. What I mean by disruption is not the end of civilization, but the end of a particular way of life. Aristocrats might have thought the world was ending when feudalism was abolished during the French Revolution, but the world didn’t end; the world changed. (The critic John Clute has said that the French Revolution was one of the things that gave rise to science fiction.)…
The familiar is always comfortable, but we need to make a distinction between what is actually desirable and what is simply what we’re accustomed to; sometimes those are the same, and sometimes they are not. The people who are the happiest with the status quo are the ones who benefit most from it, which is why the wealthy are usually conservative; the existing order works to their advantage. For example, right now there’s a discussion taking place about canceling student debt, and a related discussion about why there is such a difference in the type of financial relief available to individuals as opposed to giant corporations. The people who will be happiest to return to our existing system of debt are the ones who benefit from it, and making them uncomfortable might be a good idea…
How we may never go “back to normal”—and why that might be a good thing– Halimah Marcus‘ (@HalimahMarcus) interviews the estimable Ted Chiang. Read it in full: “Ted Chiang Explains the Disaster Novel We All Suddenly Live In.”
* Albert Camus
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As we put it all into perspective, we might recall that it was on this date in 1977 that Star Wars was released. An epic space opera directed and co-written by George Lucas, it was both a box-office and critical success. The highest-grossing film ever at the time (until the release of E.T. the Extra-Terrestrial in 1982), it is, when adjusted for inflation, the second-highest-grossing film in North America (behind Gone With The Wind).
The film won 6 Oscars for a variety of technical achievements. As film critic Roger Ebert wrote in his book The Great Movies, “Like The Birth of a Nation and Citizen Kane, Star Wars was a technical watershed that influenced many of the movies that came after.” It began a new generation of special effects and high-energy motion pictures. The film was one of the first films to link genres together to invent a new, high-concept genre for filmmakers to build upon. And, with Steven Spielberg’s Jaws, it shifted the film industry’s focus away from the personal filmmaking of the 1970s and toward fast-paced, big-budget blockbusters for younger audiences.
The film has been reissued many times and launched an industry of tie-in products, including novels, comics, video games, amusement park attractions, and merchandise including toys, games, and clothing. The film’s success led to two critically and commercially successful sequels, The Empire Strikes Back and Return of the Jedi, and later to a prequel trilogy, a sequel trilogy, two anthology films and various spin-off TV series.
“The future is there… looking back at us. Trying to make sense of the fiction we will have become”*…
Tim Maughan, an accomplished science fiction writer himself, considers sci-fi works from the 1980s and 90s, and their predictive power. Covering Bruce Sterling, William Gibson, Rudy Rucker, Steven King, P.D. James, an episode of Star Trek: Deep Space Nine, and Bladerunner, he reserves special attention for a most deserving subject…
When you imagine the future, what’s the first date that comes into your mind? 2050? 2070? The year that pops into your head is almost certainly related to how old you are — some point within our lifetimes yet distant enough to be mysterious, still just outside our grasp. For those of us growing up in the 1980s and ’90s — and for a large number of science fiction writers working in those decades — the 2020s felt like that future. A decade we would presumably live to see but also seemed sufficiently far away that it could be a world full of new technologies, social movements, or political changes. A dystopia or a utopia; a world both alien and familiar.
That future is, of course, now…
Two science fiction books set in the 2020s tower over everything else from that era in their terrifying prescience: Octavia Butler’s Parable of the Sower (1993) and Parable of the Talents (1998). These books by the late master kick off in 2024 Los Angeles and are set against a backdrop of a California that’s been ravaged by floods, storms, and droughts brought on by climate change. Middle- and working-class families huddle together in gated communities, attempting to escape the outside world through addictive pharmaceuticals and virtual reality headsets. New religions and conspiracy theory–chasing cults begin to emerge. A caravan of refugees head north to escape the ecological and social collapse, while a far-right extremist president backed by evangelical Christians comes to power using the chillingly familiar election slogan Make America Great Again.
Although it now feels like much of Butler’s Parable books might have been pulled straight from this afternoon’s Twitter or tonight’s evening news, some elements are more far-fetched. The second book ends with followers of the new religion founded by the central character leaving Earth in a spaceship to colonize Alpha Centauri. Butler originally planned to write a third book following the fates of these interstellar explorers but, sadly, passed away in 2005 before she had a chance. She left us with a duology that remains more grounded and scarily familiar to those of us struggling to come to terms with the everyday dystopias that the real 2020s seem to be already presenting us.
Not that this remarkable accuracy was ever her objective.
“This was not a book about prophecy; this was an if-this-goes-on story,” Butler said about the books during a talk at MIT in 1998. “This was a cautionary tale, although people have told me it was prophecy. All I have to say to that is I certainly hope not.”
In the same talk, Butler describes in detail the fears that drove her to write this warning: the debate over climate change, the eroding of workers’ rights, the rise of the private prison industry, and the media’s increasing refusal to talk about all of these in favor of focusing on soundbite propaganda and celebrity news. Again, these are fears that feel instantly familiar today…
What Blade Runner, cyberpunk– and Octavia Butler– had to say about the age we’re entering now: “How Science Fiction Imagined the 2020s.”
* William Gibson, Pattern Recognition
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As we honor prophets, we might recall that it was on this date in 1984 that Apple aired an epoch-making commercial, “1984” (directed by Blade Runner director Ridley Scott), during Superbowl XVIII– for the first and only time. Two days later, the first Apple Macintosh went on sale.
“Total annihilation has a way of sharpening people’s minds”*…
HG Wells was the great modern prophet of apocalypse…
In five fecund years, from 1895 to 1900, he wrote 12 books, including the ‘scientific romances’ that made his name and laid the foundations of modern science fiction — The Time Machine, The War of the Worlds, The Island of Dr Moreau, The Invisible Man. He paved the way for so much of what came after — the sci-fi of Huxley, Orwell, Olaf Stapledon, Arthur C. Clarke, JG Ballard and Michael Crichton, and his books have inspired over 30 films, with The Invisible Man set for another remake this year…
His books — both fiction and non-fiction — are tales of apocalypse, which in the ancient Greek etymology means ‘the unveiling or unfolding of things not previously known and which could not be known apart from the unveiling’.
What you meet in Wells’ books, again and again, is the violent uncovering of the new, the ripping back of the lace curtain of Victorian customs. Like Ballard, Wells had a sense of how suddenly and utterly things can change, how long familiar and ingrained customs can disappear in a moment. Victorian England must have seemed like it would stay the same forever and ever. And then, suddenly, Queen Victoria is removed ‘like a great paperweight’, and everything is in flux.
Australians are learning that today — how everything we take for granted — homes, food supplies, electricity, water, clean air, even law and order — can be taken from one in an instant. Likewise, The War of the Worlds gave complacent imperial Victorians a sudden sense what it’s like to be conquered and humiliated, to be scrabbling for survival. ‘I felt a sense of dethronement, a persuasion that I was no longer a master, but an animal among the animals, under the Martian heel’…
What can he teach us about our present moment? How can we survive and endure the apocalyptic unravelling of hydrocarbon capitalism, which is what (I suggest) we vividly see happening today. The most important lessons he gave us are (1) take the Long View and (2) don’t turn away from technological innovation, however dangerous and unsettling it is…
Jules Evans (on a return visit, having supplied yesterday’s subject) explains: “What HG Wells can teach us about surviving apocalypse.”
* 21 Lessons for the 21st Century
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As we batten down the hatches, we might recall that it was on this date in 749 that a devastating earthquake struck parts of Palestine and the Transjordan, epicentered in Galilee. The cities of Tiberias, Beit She’an, Hippos, and Pella were largely destroyed, while many other cities across the Levant were heavily damaged; the casualties numbered in the tens of thousands.
Scythopolis (Beit She’an) was one of the cities destroyed in the earthquake of 749
“The future isn’t what it used to be”*…
When Ridley Scott’s Blade Runner was released in 1982, its dystopian future seemed light years away. But fans of the critically-acclaimed science fiction film might [be] feeling a little funny. As its opening sequence informs us, the movie takes place in Los Angeles, November 2019…
That’s to say, from now on, Blade Runner is no longer set in the future.
For a list of other works whose futures are already past, visit Screen Crush (the source of the image at the top); and for a more complete list, click here.
* variously attributed to Paul Valéry, Laura Riding, Robert Graves, and (with the substitution of “ain’t” for “isn’t”) Yogi Berra
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As we adjust our expectations, we might send imaginative birthday greetings to Hedwig Eva Maria Kiesler; she was born on this date in 1914. Better known by her stage name, Hedy Lamarr, she became a huge movie star at MGM.
By the time American audiences were introduced to Austrian actress Hedy Lamarr in the 1938 film Algiers, she had already lived an eventful life. She got her scandalous start in film in Czechoslovakia (her first role was in the erotic Ecstasy). She was married at 19 in pre-World War II Europe to Fritz Mandl, a paranoid, overly protective arms dealer linked with fascists in Italy and Nazis in Germany. After her father’s sudden death and as the war approached, she fled Mandl’s country estate in the middle of the night and escaped to London. Unable to return home to Vienna where her mother lived, and determined to get into the movies, she booked passage to the States on the same ship as mogul Louis B. Mayer. Flaunting herself, she drew his attention and signed with his MGM Studios before they docked.
Arriving in Hollywood brought her a new name (Lamarr was originally Kiesler), fame, multiple marriages and divorces and a foray into groundbreaking work as a producer, before she eventually became a recluse. But perhaps the most fascinating aspect of Lamarr’s life isn’t as well known: during WWII, when she was 27, the movie star invented and patented an ingenious forerunner of current high-tech communications…
The story of the movie star who invented spread-spectrum radio, the secure signal technology that helped the Allies avoid having their radio communications intercepted by the Axis forces, and that lies at the heart of the cellular phone system that we all use today: “Why Hedy Lamarr Was Hollywood’s Secret Weapon.”
“Any girl can be glamorous. All you have to do is stand still and look stupid” – Hedy Lamarr
