Posts Tagged ‘science fiction’

First contact with alien life . . . how will the world react?

David Brin's new science fiction novel EXISTENCE, about first contact with alien lifeDavid Brin’s upcoming science fiction novel EXISTENCE (UK |ANZ) centres around the discovery of an alien artifact floating high in Earth’s Orbit. It also boldly suggests that our continued existence was never a given. So we wanted to ask, what could First Contact mean for mankind? Are we on a tipping point? Read on for a collection of short excerpts from the book – and see this instance of First Contact from multiple angles . . .

In all of human history, only a few cultures ever managed to guide themselves across such a transition after making contact with superior outsiders, without first passing through long generations of intimidation and victimhood. Or tearing themselves apart . . .

 THE MOMENT OF DISCOVERY

Gerald Livingstone is a galactic garbage trawler, clearing up the residue of mankind’s now long-forgotten forays into the galaxy. The strangely alien artifact he stumbles across calls to him subliminally . . .

Could this really be a messenger from some alien civilization?

Bare fingertips hovered over the translucent surface, causing ripples to flow, as if preparing to meet him at the point of contact. Whatever lay within . . . it somehow knew. It sensed the nearness of living flesh.

What if it really is alien? And dangerous?

He couldn’t help suddenly imagining the oblong ovoid — gripped between his thighs — as something out of science fiction. A cuckoo’s egg. Perhaps a Trojan Horse. “Contamination” could work both ways. Might it be a terrible mistake to touch the thing? (more…)

Police Procedurals, the Internet and Porn: Charlie Stross on RULE 34

the cover of Charles Stross's futuristic crime novel RULE 34
The B-format paperback of futuristic crime thriller RULE 34 has been released this month

Rule 34 of the internet is, “if it exists, there is porn of it. No exceptions.”

(Please do not attempt to test this rule using Google with safe search switched off. That which is seen cannot be un-seen . . .)

It’s hard for us to remember today that mass adoption of the internet is less than twenty years old. Although the first routers were switched on in 1969, the net remained a toy for academic and computer industry researchers for its first twenty years. I first met it in 1989, in the course of a computer science degree; even as late as 1993, the idea that one might get internet access in one’s home was kind of outlandish.

It took the invention of the world wide web – which many people today mistake for the internet – to make it visually accessible and appealing to the masses. But in the following 20 years, it became probably the most pervasive single communications medium in human history, extruding tentacles of connectivity into our pockets by way of smartphones, infiltrating our working lives and our dreams. Not to mention our nightmares.

Back in 2010, contemplating the idea of writing a police procedural novel set perhaps ten or twelve years in the future of the internet, I found myself trying to get a handle on police practice and computing. Policing in the 21st century UK has been changing bewilderingly fast; the Home Office has, over a decade and a half, been engaged in a project of systematically replacing the main body of our criminal law (which accreted over centuries) with a properly designed, fit-for-bureaucratic-purpose replacement body of legislation. Similarly, the practice of policing has undergone successive upheavals, both in response to scandals of injustice (corruption and the fitting-up of suspects for crimes they didn’t commit) and in an attempt to grapple with maintaining order in a rapidly changing society. But policing the UK is an enormous job. You can’t get a handle on it by talking to any one person; they can only give you a worm’s eye view of what they’re involved in. In actual fact, the various British police forces employ around as many officers as the armed forces have soldiers, sailors, and airmen: and the range of activities they’re involved in is extraordinary, from handling specialist poison-sniffing dogs (used in the Scottish borders for protecting endangered raptor species from farmers and gamekeepers) to guarding nuclear reactors – by way, of course, of the Saturday night public order circus at pub chucking-out time.

Kibitzing on the anonymous blogs of working cops, you run across all sorts of illuminating rants about the day to day irritations of the job: from the best type of boots to wear when pounding the beat all day (German or Dutch paratroop boots are the business), to the headaches of the modern desk sergeant’s end-of-shift hand-over (passing your colleague the personal mobile numbers of all your constables, making sure you’ve got the correct logins and passwords on the various databases you need to update with every incident), and gripes about IT services. IT services? Well yes: policing doesn’t revolve around scraps of paper any more, the back end is as heavily automated as any other large cumbersome enterprise – and this was in 2010, remember. It’s all a far cry from the police procedurals of yore . . . by which I mean 1990.

So where, I wondered, was policing going in 2022? And, more to the point, what is policing going to entail in the world of the Internet of Things – when 3D printers have become as pervasive as personal computers in the late 1980s, so that dreams and nightmares that currently only exist on the net can extrude themselves into the physical world? What’s it going to be like, when organized criminals (whose business acumen is usually so poor that they turn to crime because they can’t compete in legitimate markets) finally begin to catch up with modern business processes? And what sort of police are we going to need to maintain order in such a chaotic and rapidly changing world?

Welcome to RULE 34. That which is seen cannot be un-seen. No exceptions!

How will the world end? Some thoughts from 2050 . . .

Existence, a new novel of our future from the award-winning science fiction author David Brin, author of the Uplift novels, EARTH, and THE POSTMANIn the year 2050, will we still be fretting over the end of the world? A dark bit of quasi-fictional non-fiction . . . and some between-chapter excerpts from the upcoming science fiction novel EXISTENCE (UK | ANZ).

A Myriad Paths of Entropy

Does the universe hate us? How many pitfalls lie ahead, waiting to shred our conceited molecule-clusters back into unthinking dust? Shall we count them? Today, our means of self-destruction seem myriad – though we at Pandora’s Cornucopia will try to list them all! So adjust your AI-ware, your im-VR-sive wraparounds, your omnivision eyeptics and dive right in.

At one level, none of this is new. Men and women always felt besieged. By monsters prowling the darkness. By their oppressive rulers, or violent neighbors, or capricious gods. Yet, didn’t they most often blame themselves? Bad times were viewed as punishment, brought on by wrong behavior. By unwise belief.

We modern folk snort at the superstitions of our ancestors. We know they could never really wreck the world, but we can! Zeus or Moloch could not match the destructive power of a nuclear missile exchange, or a dusting of plague bacilli, or some ecological travesty, or ruinous mismanagement of the intricate aiconomy.

Oh, we’re mighty. But are we so different from our forebears? (more…)

Wallpapers for CALIBAN’S WAR by James S. A. Corey

God, I love this series. So much so… I think all of you should titivate that calculator on steroids you have on your person with the absurdly cool art from CALIBAN’S WAR (US | UK | AUS) by James S. A. Corey by Daniel Dociu.

Bring it on.

BRING IT ON!!!

Below are all the wallpaper download links. If anyone needs a specific dimension… you’re on your own.

BA HA HA HA HA

Just kidding. Let us know and we’ll hook you up. :)

 

1024 x 768 | 1280 x 800 | 1440 x 900 | 1680 x 1050 |1920 x 1200 | iPhone | iPad | Facebook

Prometheus, First Contact and David Brin’s EXISTENCE

Poster for the movie Prometheus and how it relates to David Brin's science fiction novel EXISTENCEOn Friday night I could barely contain my excitement. I – along with thousands upon thousands of  people across the country – had tickets to PROMETHEUS, undoubtedly the most talked-about science fiction film release of the year so far. And where better to see it, but the glorious Empire cinema on Leicester Square, in 3D.

The air was filled with anticipation as we all crammed through the doors and were handed our 3D specs. And then when the opening scenes began, with sweeping views across spectacular landscapes on Earth, enhanced by the 3D effects (probably the most unobtrusive and therefore effective I’ve seen in a movie so far) – we knew that this was going to be something big. And then, when the shadow of a city-sized spaceship began to darken the landscape, it began to feel truly epic.

What bigger a subject is there than first contact with alien life?

Existence, a new science fiction novel from David Brin about first contact with alien life - and how it relates to the Prometheus filmI couldn’t help but constantly draw parallels with David Brin‘s new novel EXISTENCE, and not just because of the 3D effect (with our first edition featuring a very cool 3D cover). But because at the heart of EXISTENCE is the discovery of an alien artefact floating in Earth’s orbit, picked up by a galactic garbage trawler. It appears to be a message in a bottle, an invitation to “join us” from another sentient species out in the vastness of the universe. At the same time, another artefact is found in the ruins of a sunken beach-front mansion, which warns humanity away from making contact with this other life form.

This highlights the question which forever prods at us and teases us. It’s the dilemma at the very centre of both PROMETHEUS and EXISTENCE: would making contact with an alien life form be a good idea? Would these (presumably more intelligent) beings have an inherent desire to help humanity, to set us straight, sort out our squabbling, or offer us a shiny new planet when we’ve trashed our own beyond repair? Or would they in fact just try to eat our faces, use us as lovely host organisms and generally be bad news for the continuing future of mankind?

Now we all know that PROMETHEUS is a prequel to the other ALIEN films, so could safely assume that these otherwordly creatures were not going to be our BFFs. But what a thrilling experience to see the journey up until that point: where we hope to find out that mankind can have a meaningful and significant place within the universe by uniting with another sentient species. And then how awesomely epic to see those hopes dashed in spectacular, breathtaking and violently dramatic ways?

I’m glad to say that my expectations for PROMETHEUS were certainly met. The special effects are magnificent – the kind where you have to pinch yourself to remember that this isn’t real footage, and that massive organic-looking Titus of an alien spaceship did not actually just rise from behind them yonder hills. And even if it sometimes seems that the need for great effects can take over from the need for flawless acting, the performance of Michael Fassbender more than made up for it, as the eerie robot David. The pace of the film was also a real strong point. There wasn’t a single moment when my concentration lapsed and the plot was sturdy enough (although not as strong as the original ALIEN movies). Overall it was a totally enthralling, enjoyable experience.

If I was going to have one small criticism, it would be that the characters seemed a tad nonplussed when they finally discover solid proof of alien life. Whereas the beauty of EXISTENCE is that it really focuses on the question of how proof of alien life would affect mankind. What would the initial evidence of alien life mean for all different people in different walks of life? Would the politician try to veil the truth from the general public? Would the journalist become set on letting the public know what they’re in for? Would the anti-technology prophet claim that the only way to survive would be to end democracy? What would it mean for each  of us? How would the world react? Is this the end, or a new beginning?

I won’t give any spoilers, but what happens all feels frighteningly, awe-inspiringly real. EXISTENCE is set a few decades in the future, but who knows if the day when we’ll actually be answering some of these questions is closer than we think? Let’s see if 2012 might really be as significant a year as the Mayans thought…

PROMETHEUS is at cinemas nationwide now, and EXISTENCE (UK | ANZ) will be released on 21st June 2012 with a limited edition 3D cover.

2312: We have liftoff!

It is appropriate that on the launch day of 2312 (US | UK | AUS) by KIM STANLEY ROBINSON, we also celebrate the unmanned flight of SpaceX’s Dragon shuttle aboard the Falcon 9 rocket. But until room opens up on those shuttles for the rest of us, pick up 2312 and travel to the future today.

The response to this book has been wonderful, and there have been a few recent news items that were too good not to share. The Wall Street Journal reviewed 2312 over the weekend saying,

“2312” does what sci-fi is supposed to do: combine enthralling scientific sweep with envy-inducing human interest.

Kim Stanley Robinson also recently sat down with Space.com to dig down into the gritty details of terraforming planetary objects for space colonization in a special two part interview:

Part 1  |  Part 2

And if you thought that was interesting, just wait. Next you can walk-through the same steps and build your own “Terraria” from an asteroid – like those in 2312! Remember a home is what you make of it.

What is remarkable about 2312 is how topical this book is to the present day. It was a month ago that Planetary Resources announced their plans to mine near-earth objects to world-wide enthusiasm.   Over 2,000 engineers have already applied to work on the project. Working together like this, a future such as the one laid out by Kim Stanley Robinson in 2312 is more than possible.

Elizabeth Moon on the BBC

The BBC World Service logo in blueThis weekend our very own Elizabeth Moon will be appearing on the BBC World Service to take part in a discussion about Future Wars.

Elizabeth is a much-loved author of fantasy and science fiction, and during the writing of classic SF series such as The Serrano Legacy and Vatta’s War she’s done a lot of thinking about the way that future wars might be fought. She’s also seen active service in the United States Marine Corps, attaining the rank of First lieutenant.

The Forum will be broadcast at these times: Sat 19 May 2012 23:05 BST, Sun 20 May 2012 02:05 BST and Sun 20 May 2012 12:05 BST. It will also be available as a podcast, on the BBC World Service website.

the covers for science fiction epic: the Serrano Legacy

The Forum goes out on the BBC World Service which reaches 166 million listeners worldwide each week. It is broadcast on the weekend for forty minutes and the discussions are generally chaired by Bridget Kendall, the BBC’s Diplomatic Correspondent. More information is available at bbcworldservice.com/forum.

Cool science in the year 2312

In advance of the release of Kim Stanley Robinson’s 2312 (US | UK  | AUS) we’ve launched a website that walks you through the process of terraforming an asteroid. Build an asteroid terrarium like those in 2312, with any possible landscape – above or below water; one that preserves an existing Earth species or creates new hybrids in never-before-seen environments.

The website gives you a peek inside the ambitious new novel Publishers Weekly called “a challenging, compelling masterpiece of science fiction” and Locus called “as flat-out a celebration of the possibilities of SF as I’ve seen in years.”

Look for 2312’s release on May 22nd!

David Brin on EXISTENCE, Google’s Project Glass and the transformative power of science fiction

Cover for the near-future science fiction novel EXISTENCE by David Brin, author of the Uplift novels - with a limited-edition 3D coverAt the end of last year, we here at Orbit received a very exciting treat in our inboxes . . . a new manuscript from the critically acclaimed David Brin.

Author of the classic UPLIFT series, EARTH and THE POSTMAN (made into a major motion picture), he’s widely lauded not just for writing thrillingly addictive science fiction, but also for his track record for accurately predicting the future within his novels.

It’s been ten years since the release of David’s last book, so the arrival of the manuscript for EXISTENCE (UK | ANZ) really was quite an event. And it’s no exaggeration to say that this could well be his pièce de resistance.

It’s an edge-of-your-seat novel of the near-future, where discovery of an alien artefact throws the world into chaos. The absolute compelling nature of this book, and the sheer breadth and brilliance of the ideas expressed within it made me want to find out more about David’s thought processes behind it (beyond the usual questions I’d ask as part of our author/editor relationship!). Read on for an insight into what lead to its creation . . .

David Brin, author of the near-future science fiction novel EXISTENCE - credit Cheryl Brigham
David Brin - photo by Cheryl Brigham

AG: Despite your incredible success as a writer, you’ve mentioned elsewhere that being an author wasn’t your first career of choice. Tell us more?

DB: Writing was the first truly verifiable, repeatable and effective form of magic. Picture how it must have impressed ancient people to look at marks – on papyrus or clay – and know they conveyed the words of scribes and kings long dead. Knowledge, wisdom and art could finally accumulate, and death was robbed some of its sting. Writing still is magical. To create strings of black squiggles that millions of others can skillfully de-code with just their eyes – into emotions and thoughts, or the struggles of believable characters.

Still, every culture had storytellers. I was drawn toward a much newer kind of profession, that only gained real momentum the last few generations. Science. A shared endeavor to find out what is true, despite our preconceptions.  Wow, that too is amazing! And I managed to contribute a few new bits of knowledge.

Still, when a chance came along to combine the two? Who wouldn’t grab such an opportunity?

AG: It’s been almost a decade since the release of your last novel. Have scientific developments over the last 10 years forced you at all to reassess the vision of the future you’ve held in previous books?

DB: Well of course. But remember, good science fiction isn’t about any static view. It should offer thought experiments about change.  How it transforms real societies and realistic characters.  Change has been the one, great constant of modernity and its rate is accelerating.  Many of our social and political squabbles spiral around this one fact. A lot of folks don’t like the staccato pace of disruptions and new ideas, even good ones. 

But if we don’t poke ahead, peering into the fog, how will we ever find our way?  (more…)

Cover Story: 2312 by KIM STANLEY ROBINSON

2312 by Kim Stanley Robinson is coming out at the end of May around the globe (US | UK | AUS).  Last week I posted  some wallpapers, and this week I want to explain some of the thinking that went into the design of the book jacket.

The goal was to create a cover that would signal a big book about space, but we also wanted something that reinforced the timelessness of the  storytelling by bringing in mythic symbolism. The cover isn’t a literal snapshot of anything in the book — it’s a collection of symbols that evoke the story.

I don’t want to give away too many of the book’s secrets (some of which are hinted at in the design) but I will explain why there’s a rooster and a sickle silhouetted against the tree.

The two main characters in 2312 are from Mercury and Saturn. You probably remember that in Roman mythology Mercury (like Hermes) wore winged sandals and bore a caduceus. He was also often accompanied by a  rooster (representing the new day.)  Saturn — the god of agriculture, justice and strength —  held a sickle in his left hand and a bundle of wheat in his right. So these two symbols represent two of the key locations in the book. 

There’s also a very simple visual story in the design. As you roll the book over from the front, to the spine, and to the back, you’ll notice the sun going down on each image.

You’ll also notice that the rooster isn’t on the back cover. Why? There are a few possible interpretations for this.  But there’s also a straightforward scientific explanation in keeping with the rigorous logic of the book. Why isn’t the rooster on the back cover?

… It’s nighttime. The rooster has gone to sleep. ;-)

So that’s a bit of background on the design thinking that went into the cover. You can enlarge the cover below to see the sun setting effect.

CLICK TO ENLARGE

This was a really fun project and one (as I always do) I feel lucky to be a part of.