Patrick Moore, Arthur C. Clarke and ‘British Outer Space’ in the mid 20th century

2012 ◽  
Vol 19 (4) ◽  
pp. 505-522 ◽  
Author(s):  
Oliver Dunnett

This article seeks to explore a notion of ‘British outer space’ in the mid 20th century with reference to the British Interplanetary Society and the works of Patrick Moore and Arthur C. Clarke. Geographies of outer space have been examined following early work by Denis Cosgrove on the Apollo space photographs. Cosgrove’s work has encouraged a growing body of work that seeks to examine both the ‘Earth from space’ perspective as well as its reciprocal, ‘space from Earth’. This article aligns itself with the latter viewpoint, in attempting to define a national culture of ‘British outer space’. This is found to have an important connection with the British Interplanetary Society, founded in 1933 near Liverpool, which went on to influence the works of Patrick Moore, who edited the magazine Spaceflight and presented the television programme The Sky at Night, and Arthur C. Clarke, who became known as a science fiction writer through his early novels in the 1950s. The themes of audience participation and human destiny in outer space are examined in a close reading of these two case studies, and further engagement with cultures of outer space in geography is encouraged.

Author(s):  
Brad Tabas

      This text examines the effects of climate change on cultural ideas regarding the colonization of space. More specifically, this paper explores the ways which the looming danger of climate catastrophe has fueled the growth of post-planetary culture: a culture that dreams of a human destiny beyond the Earth. It takes as its object both science fiction texts and non-fiction futurological pronouncements by scientists and entrepreneurs. What emerges from this study is the observation that unlike climate skeptics, post-planetarists believe that climate change is real. Yet like climate skeptics, they subordinate climate action to other priorities, putting the construction of a means of escaping this planet above climate action. But why do these post-planetarists wish to fly? Via a close reading of David Brin’s Earth, we argue that one of the key characteristics of post-planetary culture is a feeling of hatred and alienation towards the Earth. This hatred is both re-enforced by the ravages of climate change even as it contributes to this destruction by blocking post-planetarists from whole-heartedly engaging in climate action. In order to illustrate an antidote to this pathological cultural reaction to our current crisis, I present a close reading Kim Stanley Robinson’s Aurora, exploring how this text is both a critique of post-planetarism and a guide to renewing our love for the Earth.


Author(s):  
N. Megan Kelley

This chapter focuses on science fiction films that featured aliens passing as humans and examines how they tapped into the fears and anxieties about politics and issues of identity in postwar America. In films such as Invaders from Mars, Invasion of the Body-Snatchers, I Married a Monster from Outer Space, and The Day the Earth Stood Still, friendly neighbors might be alien invaders pretending to be humans. These Hollywood films were of two main categories: those concerned with the external threat of alien invasions, and those that deal with the internal threat of aliens who infiltrated the earth and passed for human. The chapter suggests that aliens passing for human brought to the fore the connections between anxiety about racial passing, Communism, and subversive gender or sexual identities.


Author(s):  
Ilya Yu. Vinitsky

This essay explores the scientific and literary origins of the image of an axe thrown into outer space to orbit the earth, as it appears in the chapter “The Devil. The Vision of Ivan Fyodorovich” in Dostoevsky’s The Brothers Karamazov. Did Dostoevsky anticipate the idea of an artificial satellite, as many critics and journalists argue? How were science (in this case astronomy) and literature connected in his mind? How did Dostoevsky’s scientific and creative imagination work in general? The author shows that Dostoevsky’s “prophetic” reference to a sputnik was rooted in popular articles and textbooks about Newton’s mechanics and in Marko Vovchok’s (Maria Vilinskaya’s) translation of Jules Verne’s science fiction novel Around the Moon (“Autour de la Lune”), published in The Russian Herald (Russkii vestnik) in 1869. The novel relates the chronicle of a voyage of brave researchers inside a cannonball that was fired out of a giant space gun. The essay reconstructs the trajectory of Verne’s image of a manmade satellite in Russian literature of the late nineteenth and early twentieth century.


2021 ◽  
Vol 73 (3) ◽  
pp. 535-556
Author(s):  
Vladimir Ajzenhamer

The paper is an attempt at geopolitical contextualization and realpolitik reading of comic works by Alejandro Jodorowsky. The focus of the analysis is on the so-called ?Jodoverse? - a segment of Jodorowsky?s opus which includes three great science-fiction sagas - ?The Incal?, ?The Saga of the Metabarons? and ?Technopriests?. These works, which can be defined as ?space operas? in terms of genre, vividly evoke a futuristic vision of one of the possible cosmic futures of humanity. This paper aims to map those motives in this fictional universe that draw inspiration from the tradition of classical geopolitics, i.e., the practice of political realism. The author?s initial assumption is that the Jodoverse is designed to function as a (popular-cultural) reflection of earthly geopolitical principles in the mirror of outer space and that, therefore, the depiction of astropolitics in the works of Jodorowsky is nothing but cloning of realpolitik in infinite space above the earth?s orbit. In order to confirm this assumption, the author will use the geopolitical and astropolitical concepts of Karl Schmidt and Everett Dolman as a key to unravelling the secrets of the Jodoverse. For that purpose, Schmidt?s concept of the nomos of the earth will be used, as well as the teaching on technological determinism which is present in the works of both theorists. By applying these concepts to Jodorowsky?s comics, the author will try to prove how the ideas of classical geopolitics have their counterparts in the cosmic phantasms of this genius of the ninth art.


Author(s):  
Ilya Yu. Vinitsky

This essay explores the scientific and literary origins of the image of an axe thrown into outer space to orbit the earth, as it appears in the chapter “The Devil. The Vision of Ivan Fyodorovich” in Dostoevsky’s The Brothers Karamazov. Did Dostoevsky anticipate the idea of an artificial satellite, as many critics and journalists argue? How were science (in this case astronomy) and literature connected in his mind? How did Dostoevsky’s scientific and creative imagination work in general? The author shows that Dostoevsky’s “prophetic” reference to a sputnik was rooted in popular articles and textbooks about Newton’s mechanics and in Marko Vovchok’s (Maria Vilinskaya’s) translation of Jules Verne’s science fiction novel Around the Moon (“Autour de la Lune”), published in The Russian Herald (Russkii vestnik) in 1869. The novel relates the chronicle of a voyage of brave researchers inside a cannonball that was fired out of a giant space gun. The essay reconstructs the trajectory of Verne’s image of a manmade satellite in Russian literature of the late nineteenth and early twentieth century.


Leonardo ◽  
2021 ◽  
Vol 54 (1) ◽  
pp. 133-146
Author(s):  
Olesya Turkina

This article examines how artists, writers and filmmakers inspired by scientific ideas imagined space flight and how engineers and scientists were inspired by these fantasies. The first section discusses Konstantin Tsiolkovsky's impact on images of interplanetary flight and the promotion of outer space in the early twentieth century. The second considers the emergence of popular science films about space as conceived by director Pavel Klushantsev as well as the role of artist Yuri Shvets in the Soviet space epic and the impact of technological modeling on science fiction in art. Finally, the author surveys the “space work” of artists-cum-inventors Bulat Galeyev and Vyacheslav Koleychuk.


2013 ◽  
Vol 47 (2) ◽  
pp. 170-199
Author(s):  
Michael G. Smith

This article explores two classics of Soviet science fiction – Konstantin Tsiolkovskii’s Beyond the Earth (1918) and Aleksei Tolstoi’s Aelita (1923) – in their related historical contexts. Both had their origins in the popular nineteenth-century “cosmic romance,” owing to their staple characters, settings, and plots. These were extraordinary adventures into the heavens, modern signposts of how the fantastic was becoming real. Yet both novels also became leading texts in the genre of Stalinist Socialist Realism, stories that made “fairy tales come true.” Tsiolkovskii and Tolstoi both appealed to the Bolshevik Revolution as a radical break in time here on earth, much as they predicted that the rocket would become a radical new means to reach beyond into outer space. They centered their stories on real science and technology, articles of comprehension and anticipation. They created characters that revealed the utopian potential of human beings to create new regimes of equality and freedom. Part inheritance from abroad, part innovation at home, the cosmic romance in their hands became a successful medium to situate and justify the Soviet experience.


2018 ◽  
Vol 7 (1) ◽  
pp. 80-87
Author(s):  
Laura Carmen Cuțitaru

Abstract The 2016 much acclaimed American sci-fi movie Arrival is based on (what is in reality an extension of) the so-called “Sapir-Whorf” hypothesis, a linguistic theory set forth in the first half of the 20th century, according to which one’s native language dictates the way in which one perceives reality. By taking into account the latest in human knowledge, this paper tries to provide arguments as to why such a claim works wonderfully in fiction, but not in science.


1999 ◽  
Vol 354 (1392) ◽  
pp. 1915-1919 ◽  
Author(s):  
Claude Allègre ◽  
Vincent Courtillot

The 20th century has been a century of scientific revolutions for many disciplines: quantum mechanics in physics, the atomic approach in chemistry, the nonlinear revolution in mathematics, the introduction of statistical physics. The major breakthroughs in these disciplines had all occurred by about 1930. In contrast, the revolutions in the so–called natural sciences, that is in the earth sciences and in biology, waited until the last half of the century. These revolutions were indeed late, but they were no less deep and drastic, and they occurred quite suddenly. Actually, one can say that not one but three revolutions occurred in the earth sciences: in plate tectonics, planetology and the environment. They occurred essentially independently from each other, but as time passed, their effects developed, amplified and started interacting. These effects continue strongly to this day.


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