Gizmodo has posted a fantastic series of 27 works from the master of space painting, Robert McCall. McCall’s realistic, documentary-style paintings have been seen on everything from Hollywood posters (most notably for 2001: A Space Odyssey) to promotional materials by NASA. And this set doesn’t include my personal favorite, Apollo On The Moon, depicting a lunar lander and astronaut standing on the Moon, with Earth in the background.
For those young’uns of you: These are among the most inspirational visual works depicting space and space exploration of the 1960s and 70s, the paintings that turned many a child’s eye inexorably skyward… including my own.
For years, scientists, media, politicians and public citizens—hell, pretty much everybody—has been cautioning screaming about the pervasive and invasive tendencies of the digital revolution, its inexorable collection of data related to every aspect of our lives, the erosion of personal privacy and the eventual collapse of civilization that will result. Yet, when laws and regulations are proposed to rein in this collection of data and loss of privacy, they are always delayed, watered down or struck down… and often by the very people who decry the loss of privacy in the first place.
Why is it that people who are so concerned about their personal privacy can’t seem to prevent others from getting their data? Because that’s not what we really want. Continue reading
The trappings of space opera are beautifully illustrated here.
The recent arguments over the merits of Interstellar (is it good SF, is it crappy, is it too serious, is the science BS, etc, etc) has been ringing in my ears this week. One poster even tried to label Interstellar as space opera. Which reminded me of a post in IO9 a few months back about space opera and its merits. Part of the discussion revolved around what, exactly, is considered space opera. Continue reading
I’m giving consideration to placing ads in some upcoming science fiction convention programs/promo books. I say “giving consideration,” because the last few times I’ve tried to promote myself at conventions, it hasn’t worked out. At all. Continue reading
Interstellar, the Christopher Nolan movie (co-written by himself and Jonathan Nolan), is the sort of science fiction movie that comes along very seldom these days… unfortunately for all of us. In an entertainment market that will go out of its way to throw boy wizards, zombies and Klingons at ravenous audiences—but turn up its nose when someone offers real scientific content—Interstellar strives to hit some notes that are rarely touched by Hollywood anymore. But as those science notes are nested within some of the more well-known notes preferred by Pop Movie 101 aficionados, this movie does a great job hitting the right notes at the right times.
Interstellar opens in theaters this week. Its premise is that the Earth is becoming a global dustbowl, making it impossible to support the human race; so a band of astronauts heads out and through a wormhole to find another planet for human colonization. (A non-spoiler-y review of the movie precedes this post.)
Would this be the best solution for human survival? Not necessarily. Physicists Gerard O’Neill and Tom Heppenheimer worked out a more practical solution four decades ago: Build artificial habitats and put them into orbit around the Earth or Sun. This idea was described in O’Neill’s book The High Frontier and Heppenheimer’s book Colonies in Space, and it’s the idea I used as the premise of my novel Verdant Skies. Continue reading