Posts Tagged ‘Dune’

Texas Man Invents Machine that Creates Drinking Water from Air

November 25, 2019

This is pure Dune technology. This short video of just over 2 minutes long from RepsUp 100 channel on YouTube is a news report about a former ranger, Moses West, from Texas, who has invented a device that creates drinking water from the air. He invented his Atmospheric Water Generator back in 2015. West says of his machine that they’re at the point where they can talk about creating 50,000 – 1,000,000 gallons of water. The energy consumption is incredibly low. According to West, it’s far cheaper than groundwater and desalination. He has so far made eight of these machines. They’re in the Bahamas, Puerto Rico and Flint, Michigan.

According to West, the machines are federally approved and the water quality is tested by the Colorado Water Authority. Most of West’s devices were manufactured in Manitowoc, Wisconsin. The news broadcast says that the townspeople should be proud, as one unit provides the town with hundreds of gallons of clean water. It also appears that it doesn’t cost the residents anything, as West works with organisations like the Water Rescue Foundation to cover costs. He also says that people were very happy that somebody actually cared enough to jump over the bureaucracy and do this on a private piece of land. His concern now is to plant these in Flint, Michigan, to help the people there.

I don’t think West’s idea is particularly new. It seems to be a variant on the domestic dehumidifiers that are used to clean the moisture out of people’s homes. Some of these, like the one in the video below from Unbox Therapy on YouTube, manufactured by Ecoloblue, create drinking water from the moisture collected. West seems to have just created a larger, industrial scale version.

It’s a great device, and West is right when he says that there’s a water crisis coming. Back in the 1990s the Financial Times ran an article about how climate change and increasing demands for water are creating conflict. It predicted that in the 21st Century, most wars would be over water. When I was studying for my archaeology Ph.D., I also went to a seminar by a visiting professor, who had researched the effect climate change had through the human past on civilisation. He too was concerned about a coming water shortage. Machines like this could help solve some of those problems.

However, the use of these machines also demonstrates glaring iniquities in the American water supply system. Flint, Michigan, became notorious a few years ago because the local council had allowed companies to pollute the town’s drinking water to truly disgusting levels. People in a superpower like America, the world’s richest country, should not have to rely on charities for their drinking water.

It is, however, very much like something from Science Fiction. I’m reminded of the technology in books and films like Dune and Star Wars to bring water to the desert planets there. Like the system of underground cisterns and windcatchers in Dune to irrigate Arakis, and the moisture vaporators on Tattooine.

Now if only someone would invent something else from Dune – the stillsuit. A suit that collects water from the wearer’s own sweat and urine, and purifies it, turning it into drinking water so that they can survive weeks, even in the deepest desert. And in the 1980s David Lynch film, looked really cool too.

Here’s a brief video from Dune Codex on YouTube explaining how these fictional suits work.

 

Video of Ion-Driven Plane in Flight

November 27, 2018

A few days ago I put up a piece about an article in the I, which reported that scientists at MIT had successfully built and flown a plane propelled by ions. These are charged particles. The plane had a series of electrically charged wires running in front and behind it. These turned the air running between them into a stream of charged particles, which were directed around the plane to propel it through the air.

I found this video of it in flight from the Sci-News channel on YouTube. There’s a brief explanation of the principle behind it, which describes the ionized air which gives the plane thrust as an ionic wind. It then shows the plane moving a short distance without the power switched on. This is then followed by the plane flying a far greater distance using the ionic power system. The video calls it the first solid-state propulsion system, and then describes it as ‘flight without propulsion’. Which sounds like the line about travelling through folding space in Dune: ‘Travelling without motion’. The explanatory blurb for the video states that the system could be used to create cleaner, quieter planes.

It’s a fascinating form of aircraft propulsion, and as I blogged about it the other day, it’s similar to the nuclear thrust engines used on some spacecraft. These use a grid of electrically charged filaments to direct a flow of ions away from the craft to generate thrust, although in this case the charged particles come from a nuclear reactor.

However, I am slightly alarmed by the possibility that this will be used to create silent drones, as mentioned in the I article and by one of the commenters on this video on YouTube. The last thing this planet needs is more refined killing machines, especially drones which are being used to kill civilians, including children – dubbed ‘fun-sized terrorists’ by the American drone pilots. And there is a real dehumanizing effect in using drones in combat. The drone operator is remote, miles away from the carnage they’re inflicting, and so the killing can seem unreal. As one angry trainer remarked when he hauled one operator from the controls for going way to far, ‘This isn’t a computer game’.

Hopefully this technology will be used to produce cleaner, greener, more efficient aircraft, rather than yet more engines of destruction.

Kevin Logan’s Critique of Vox Day and His Summary of Alt Right Principles

October 3, 2017

Kevin Logan is a British male feminist, whose Descent of the Manosphere vlog critically discusses various members of the men’s movement and other parts of the American and British far right, and exposes them for the utterly reprehensible human beings they really are.

In this video, he attacks and criticizes the American alt-right blogger and vlogger, Vox Day. Vox Day is a former newspaper columnist, an SF/Fantasy writer, and the author of a statement of the fundamental principles of the Alt Right. The Alt-Right is a diverse and often contradictory movement, and so there’s considerable disagreement amongst its members on what it actually stands. But Day’s summary of its principles have received the approval of its leading members, including Richard Spencer.

In the video Logan takes the viewer through Day’s ideas and bizarre personality, pointing out his intellectual vanity – he keeps harping on about how high an IQ he has, and how he used to be a nationally syndicated columnist for the tech pages of a paper in Minnesota. He’s also a massive fan of Donald Trump, whom he lauds, without irony, as ‘the God Emperor’, presumably like Leto Atreides, the half-sandworm ruler of the universe in the Dune sequel, God Emperor of Dune. So enamoured is he of Trump, that he also tries to excuse Trump’s comment about sexually assaulting women, trying to tell everyone that it’s ‘alpha (male) talk’, when it isn’t. It’s simply sexual assault.

He then critiques his statement of the principles of the Alt Right. These are basically that it’s a right-wing movement, which is not traditionally Conservative, Libertarian or Neo-Con, which promotes western civilization as derived from Christianity, the European nations and the Graeco-Roman heritage. It states that every nation has the right to their own homeland, free of domination by other groups and that no race is superior to another. But he also strongly rejects free trade, because that also brings with it immigration and diversity. He quotes approvingly the ’14 Words’ – ‘We must secure the existence of the White race and a future for White children’ of the Nazi, David Lane, and is also massively anti-Semitic. He states very clearly that Jews are not members of the American people, and are working against their interests. Day states he is in favour of peaceful repatriation, but shows how peaceful he really is by talking about gunning down immigrant boats and praising the Norwegian mass murderer, Anders Breivik, whom he calls a saint. He tries to defend the Alt-Right as in favour and based on science, but notes that this accompanied by a caveat – except where its conclusion have been altered by democracy – which therefore allows him and his Nazi friends to dismiss global warming and claim that Whites are intellectually superior to Blacks. The Alt-Right also claims to be ‘anti-equalitarian’, which it dismisses as being ‘unicorns and leprechauns’, and also claims to be based on history. States have to be ethnically uniform, as proximity + diversity = war. Although it also claims to be in favour of peace between nations.

Logan shows how the liberal parts of Alt Right ideology are either unviable or contradictory – for example, the statement that each nation has a right to its own homeland doesn’t account for instances where two ethnic groups also claim the same territory, like Zionist Jews and Palestinians. He also states that there are other examples. Indeed, he could have mentioned the Hungarians and Romanians, who both claim Transylvania as the historic cradles of their peoples. He also makes the point that if the Alt Right took seriously their point about each nation having the exclusive right to their own historic homelands, then this would mean that White Americans should return to Europe, as the country they’re currently inhabiting is that of the Amerindians. As would all the European colonists throughout the former British Empire, in Canada, Australia, New Zealand etc. The statement that no race is superior to another is a sop to the Alt Right’s battered egos to get them over the fact that so many sports are dominated by Blacks and other non-Whites. In short, the liberal aspects of Alt-Right ideology mask the real White supremacy and Nazism underneath.

As for Day’s attitude to women, he fears and hates educated women to the extent that he defended the Islamist assassin, who shot Malala Yousafzai in the head simply because she was a girl, who wanted to go to school as boys did.

To be fair, Day on his blog describes himself as a ‘cruelty artist’, and I think like Milo Yiannopolis, he’s also a troll who delights in saying the inflammatory and unspeakable simply because he enjoys shocking liberals and leftists. Or simply the majority of decent human beings. But the misogyny is still very real.

The only thing I disagree with here is Logan’s opinion that Christianity isn’t fundamental to western civilization. Logan states that it isn’t, because western civilization pre-dates Christianity, going back to Greece and Rome, and America is a secular country, while in recent centuries western Europe has also moved significantly away from Christianity. This is true. But historically Christianity has formed one of the major influences on European culture. It was through Christian writers and intellectuals that the ancient legacy of classical Greece and Rome was passed on and expanded, and which also mediated influences from other civilisations such as Islam, India and China. American secularism also has its origin in the demands made for religious toleration first articulated during the British Civil War by the Nonconformist sects. Again, there are other influences. Some of the atheist commenters on this blog have pointed to recent works arguing that the first radical democrats in Europe were influenced by Baruch Spinoza. It’s probably true, but that doesn’t mean there also wasn’t an influence from radical Christianity. See the collection of writings from the British civil war published by Penguin Classics as Divine Right and Democracy.

Chris Foss on Working with Giger and Moebius on ‘Dune’

April 24, 2017

Chris Foss is one of the great masters of British SF art. Apart from painting numerous book covers, he also worked as the concept artist for Alien, Superman, and the version of Dune that was being made by the Franco-Chilean surrealist, Alejandro Jodorowsky. Sadly, his work for Alien and Dune was never seen. Ridley Scott rejected his depictions of the ‘Nostromo’ for alien, as he thought it was far too interesting and would distract the audience from the main action. And despite extensive preparation, Jodorowsky’s Dune was never made. The studio pulled the plug at the last minute. It wasn’t a wasted effort, however, as the work Jodorowsky and the French comic artist, Moebius, had put into Dune was used by them as the basis for the comic book series, the Metabarons.

A documentary came out a few years ago about the making of Jodorowsky’s Dune. Jodorowsky states that he wanted it to blow the audience’s mind. It was to have the effect of taking LSD, but without actually using the drug. Certainly the concept art looks truly awesome. Apart from Foss and Moebius, Jodorowsky also employed as concept artist H.R. Giger, the creator of the ‘Alien’. Giger produced various designs for Vladimir Harkonnen’s cast, and for a train, very much in his distinctively nightmarish style. Among the actors lined up for the film were Orson Welles as Vladimir Harkonnen and Mick Jagger as Feyd Rautha. Jodorowsky’s son, Brontes, was to play Paul Atreides. And the Emperor of the Galaxy would be played by the great surrealist egotist himself, Salvador Dali. But only for half an hour. So Jodorowsky and his team intended to fill in the rest of the time, that have been occupied by Dali, by using a robotic version of him. It’s a pity that the film was not made, as with those artists and performers, it truly would have been a genuinely mind-blowing experience.

In this clip, Foss talks about how wonderful it was working with Moebius and Giger, but says that he enjoyed it because what he was doing did not interfere with them, and their work did not interfere with his own. Looking on YouTube a few years ago, I found that Foss had put up a series of short videos about himself and his work, so if you’re interested, try looking to see if they’re still there.

Book Review: Ecofascism: Lessons from the German Experience

July 10, 2016

Ecofascism Pic

By Janet Biehl and Peter Staudenmaier (Edinburgh: AK Press 1995).

Biehl and Staudenmaier are two activists in left-wing, Green and Anarchist politics in Germany, while Staudenmaier has also been active in the US. The Green movement generally is the product of the 1960s ‘hippy’ counterculture, and its experiments to create a more peaceful, egalitarian society in harmony with the earth and the natural world. The ecological movement was launched by a congress of scientists, concerned at the damage to the natural world by pollution, in Rome in the early 1970s. Among the most influential works that launched the movement is Rachel Carson’s The Silent Spring, of 1962. Apart from its immense political influence, it also influenced SF literature in Frank Herbert’s massive Dune series of books, based around the desert planet Arakis, its sandworms, and the consciousness expanding spice they produce, which allows human to traverse the galaxy.

Germany was the country where the Green movement first became a formidable political force. Like Green parties and movements everywhere, German Greens were largely left-wing anti-authoritarians. I think the leader of the German Green party at one point was the Baader-Meinhof gang’s former lawyer. Back in the 1980s I wrote to the German Greens asking for information about them, and they kindly sent me an English language version of their manifesto. It’s cover showed that piccie from Charlie Chaplin’s Modern Times, in which the great clown is crushed between two massive cog wheels. I can’t remember much about it, but as well as creating a more ecological aware and sensitive society, the party was also concerned to free people from being crushed by modern industrial society.

It was most definitely not Fascist stuff. But Fascists in Germany have been determined to appropriate it to gain electoral support. After Rudolf Hess died in the 1980s, for example, there was a Neo-Nazi rally, including outlaw bikers, outside his former home. They read out their noxious manifesto, which included their promises to find alternative forms of energy and properly conserve the environment. Noble ideals polluted by being adopted by such a politically vile group. It was combat this that Biehl and Staudenmaier wrote their book.

The book is actually written in two parts. The first, by Staudenmaier, is entitled ‘Fascist Ideology: The “Green Wing” of the Nazi Party and its Historical Antecedents’. The second, by Biehl, is ‘”Ecology” and the Modernization of Fascism in the German Ultra-Right’. Staudenmaier in his piece traces the emergence of a peculiar, Volkisch, German racist ecological consciousness. This arose in the 19th century as part of the Blut und Boden, ‘Blood and Soil’ ideology, that became an intrinsic component of Nazism. Peoples were formed, both physically, mentally and spiritually, so volkisch ideologues argued, by their environment. And so German nationalists argued passionately for the conservation of their country’s landscape and its natural beauty. It’s quite a shock to read of how these writers combined ideas that at other times and places were highly progressive – concern for the natural world, and the respect and dignity of indigenous first nations, with virulent nationalism, and particularly anti-Semitism. This concern for the German environment continued into the Third Reich. The Nazi dictatorship set up a series of writers and officials, whose duty it was to minimise the damage produced through the Nazi state’s construction of vast industrial complexes and the autobahns. Care was taken to make sure these were specially sited and built to respect the landscape around them.

Biehl’s piece also discusses the emergence of mystic volkisch racial essentialism in the 1920s, and its rejection of the Judaeo-Christian tradition, including democracy, as enslaving and hostile to the fundamental German national character. She then describes the various neo-Nazi groups, organisations, and businesses that have tried to present themselves as ecological aware and active. These include the National Revolutionaries, Freedom German Workers’ Party, the Republicans – founded by a former SS squaddie, Franz Schonhuber – the National Democrats and the German People’s Union. Organisations with a rightist political orientation include the World League for the Protection of Life, and the former East German dissident Communist, Rudolf Bahro. Bahro was originally a Marxist thinker, who was persecuted by the East German state for his ideas. Since then, he became increasing occupied with Green issues and moved towards the extreme Right. Biehl describes an exchange between him and the veteran American Anarchist, Murray Bookchin, at a Green conference in Germany. Bookchin was one of the creators of post-scarcity Anarchism in the 1960s, an Anarchism adapted to the changed circumstances of the modern ‘affluent society’. He was also deeply concerned with the environment. At the conference, Bahro declared that ‘we need a Green Adolf!’, which rightly annoyed Bookchin. If I remember correctly, it drew a deeply critical response from Bookchin. I doubt if he was the only one disgusted by the comment.

In her conclusion, ‘A Social Ecology of Freedom’, Biehl notes how these developments were not limited just to Germany. Nick Griffin was also trying to present the National Front as being ecological aware, proclaiming ‘Racial preservation is Green’, and similar sentiments have been made in the US by White supremacists and racists there.

She writes

A love of the natural world and alienation from modern society are in themselves innocent and legitimate ideas, and it was by no means a historical necessity that they be permutated into a justification for mass murder. Nor is ‘ecology’ limited an interpretation as a social Darwinist racial jungle, or politicized along tribal, regional and nationalist lines. Nor is ‘ecology’ inherently an antirational, mystical concept. Finally, the ecology crisis can hardly be dismissed; it is itself very real and is worsening rapidly. Indeed, the politicization of ecology is not only desirable but necessary. (p.64).

And

‘Ecological’ fascism is a cynical but potentially politically effective attempt to mystically link genuine concern for present-day environmental problems with time-honored fears of the ‘outsider’ or the ‘new’, indeed the best elements of the Enlightenment, through ecological verbiage. Authoritarian mystifications need not be the fate of today’s ecology movement, as social ecology demonstrates. But they could become its fate if ecomystics, ecoprimitivists, misanthropes, antirationalists have their way. (pp.65-6).

The American Right has also bitterly attacked environmentalism and Green politics, deliberately linking them to the environmentally engated parts of the Nazi programme during the Third Reich. As this book shows, genuine Green activists like Biehl and Staudenmaier are well aware of the Nazis and their legacy, and actively reject those, who would attempt to appropriate ecological awareness in order to promote racism and tyranny.

Giger’s Dune Sandworm

July 19, 2015

I found this extremely cool concept painting of a Dune sandworm by H.-R. Giger over at the 70s Scifi Art tumblr page.

Giger Dune Sandworm

Giger, who died last year, is best known for his work on Ridley Scott’s Alien, and for designing the creature, ‘Sil’, for Species. He was, however, one of the concept artist, along with Chris Foss and Jean ‘Moebius’ Giraud, who worked on the designs for Alejandro Jodorowsky’s film version of Dune in the 1970s. That never got made, as the film’s backers dropped it at the last minute. Jodorowsky himself and his co-workers have said it’s because, in Hollywood the producers want to be far more involved than simply just putting up the money for the film. They backed out simply because they didn’t know who Jodorowsky was, or quite understand what he was doing.

The other reason was probably the sheer cost of the film itself. Jodorowsky himself has said that he hired Salvador Dali the play the Galactic Emperor (!). Dali demanded a million dollars, and stated that he would only play the Emperor for half an hour. Astonishingly, Jodorowsky agreed, and the contract was duly signed. Standing in for Dali in the rest of the movie would be a robot.

Giger’s own designs for Dune have been published, and are on-line, as are Foss’. His plans for the Baron’s spacecraft, the Galactic Emperor and his palace, and for spice freighters and attacking pirate ships have been published in the album of his work, 21st Century Foss, by Paper Tiger.

After Jodorowsky’s version collapsed, Ridley Scott was hired about a decade or so later to make the 1980’s version. It’s for his, later version of the film that Giger made the above design for the worm. Unfortunately, Scott’s brother died, causing him to abandon the project. As a result, it was then passed on to David Lynch.

Lynch’s film has been critically panned, and the received opinion of it is negative. It’s widely held to be a notoriously bad movie. I have to say that I like it, and I think it’s actually a good film. It’s main problem is that it tries to compress Herbert’s lengthy and complex novel into a single movie. It really needs to be split into about three, as the Dune 2000 miniseries did, and Peter Jackson with The Lord of the Rings and The Hobbit. Even as it is, I think Lynch’s version still holds up and is massively underappreciated.

As for Scott, he went on to make Bladerunner, which is now justly recognised as one of the great SF film classics. And despite the failure of Jodorowsky’s film version, Jodorowsky and Moebius managed to use the material they had produced for it in their SF comics. The film’s look and concept designs are even credited with influencing later, successful SF movies like Bladerunner and Alien.

Two years ago a documentary on the making of Jodorowsky’s Dune came out. I’ve looked for it on the shelves in HMV and elsewhere, but I’m afraid I haven’t been able to find it this side of the Atlantic on DVD. It is, however, on the net.

Here’s the trailer:

jodorowsky states that he wanted to produce the effect of taking LSD without having people take the drug. Looking at the designs created for the movie by Giger, Moebius and Foss, and Jodorowsky’s own, unique take on the material, it would have been an awesome and truly mind-blowing experience.

Which is what good SF does. C.S. Lewis, the fantasy novelist and Christian apologist, was a strong fan of Science Fiction at a time when it was regarded, in the words of Brian Aldiss, as ‘worse than pornography’ by the literary elite. He wrote three SF books himself, strongly informed by his own Christian convictions: Out of the Silent Planet, Perelandra/ Voyage to Venus and That Hideous Strength. He declared that ‘Science Fiction is the only true mind-expanding drug’.

He’s absolutely right, and it’s a tragedy that too many people have got ensnared by chemicals, rather than picking up a good paperback.

In Search of Moebius’

September 30, 2013

120311105955-moebius-giraud-obit-story-top

After Alan Moore on V for Vendetta, more comic book stuff. Last year, 2012, saw the passing of Jean ‘Moebius’ Giraud, one of the great auteurs of French, and indeed, world comics. Originally broadcast on BBC 4, I found it on Youtube. It traces the career and work of Jean ‘Moebius’ Giraud, from his from his modest background, as the child of a single parent following his mother’s divorce. He describes the shock he experienced at art school, when he encountered the better-off, and more polished bourgeois students. He never completed his training, as in his third year his mother married a Mexican, and he went with his mother to live in Mexico. The ancient country’s open landscape of deserts strongly influenced his later work. Back in France he launched the Western comic, Blueberry, scripted by Jean-Michel Charlier.

He then moved on to become one of Les Humanoides Associes, with Bernard Farkas, Philippe Druillet, and others who founded Metal Hurlant. Metal Hurlant was the French original of ‘Heavy Metal’, one of the first adult comics. Heavy Metal was later filmed as a cartoon of the same title. It comprised several individual stories based on the strips in the original comic. The ‘Taarna’ sequence in the movie was based on Moebius ‘Arzach’ strip. He was asked by the Chilean director, Alejandro Jodorowsky, to work on his abortive film version of Dune, providing concept drawings alongside Chris Foss and H.R. Giger. When the film fell through due to budget problems and the reluctance of the major cinema chains in America to screen it, Moebius then went back to comics. He continued to work with Jodorowsky, and together they produced the strips Arzach and The Incal.

moebius-08
One of the classic images from Arzach.

He returned to the cinema to work once more with Giger and Foss on Alien, where amongst other things he designed the spacesuits worn by the crew of the Nostromo. Back in comics, he and Dan O’Bannon, one of the writers of Alien, created the Long Tomorrow strip, a future ‘noir’ story about a private detective. The vast city depicted in the strip influenced the design of the great metropolis in Ridley Scott’s ‘future noir’, Blade Runner. In 1987 Moebius went to America to work with the mighty Stan ‘the Man’ Lee on the Silver Surfer comic book, Parable. This strip met a mixed reception. Several of the comics’ creators speaking in
the film thought that it was largely well received by the Marvel comics readership.

art-moebius-Jean-Giraud-04

Others said that comics fans are quite conservative, and didn’t really like Moebius’ distinctively continental style of story-telling. Mike Mignola, the creator of Hellboy, was quite critical of the attitude of the American comics industry towards their European cousins. He felt that, although they were impressed with their work and wanted them to work on their comics, they nevertheless did not want them to work in their characteristic manner. Instead, they wanted to fix them so that they conformed to American conventions. Moebius himself was quite content to work on the superhero strip, but the others talking were much less than enthusiastic about the genre. Mike Mignola credited Moebius with inspiring him to leave superheroes behind. Jodorowsky was highly critical about superheroes, and went on to express his complete contempt for them and America. In the 1990s, Moebius once again returned to the cinema to provide the designs for Luc Besson’s The Fifth Element.

The film also touched briefly on his divorce and remarriage. His former partner on Metal Hurlant, Philippe Druillet, noted that wives of comic book artists are all strong women. While the artist simply wants to draw, they’re the ones, who are interested in percentages and the financial side. He believed that they had to be, as comic artists are all really children, who need a mother to protect them.

The film’s talking heads comprise a veritable gallery of some of the leading figures in American and French comics, including Smilin’ Stan Lee, the founder of Marvel, Jamie Lee, the artist on Marvel’s X-Men, Mike Mignola, the creator of Hellboy, Jodorowsky, Druillet and Moebius himself. In contrast to his bizarre heroes and galaxy-spanning quests, Moebius himself comes across as a quiet, affable man, though one of speakers said that they would be afraid of Moebius the man. The documentary gives a fascinating insight into the life and career of one of the great figures of Science Fiction comics. R.I.P., big man.

Warning: Metal Hurlant was one of the very first adult comics, and inspired similar magazines in America and Britain, such as Epic Illustrated and Warrior, in which Alan Moore’s V for Vendetta first appeared. These comics explored issues around sex, and so a few of the drawings contain sex and nudity.

The movie can also be seen on Youtube at http://www.youtube.com/watch?v=jNas99oEXBU.

Dune: Towards the Still Suit

July 21, 2013

One of the most fascinating pieces in Frank Herbert’s SF epic, Dune, is the still suit. This is a suit composed of semi-permeable membranes that takes the body’s sweat and purifies it, supplying the wearer with drinking water. Thus clothed, he or she can survive weeks out in the dry wastes of the desert planet. It came closer to reality yesterday, when Swedish scientists created a device that can turn sweat from clothes into drinking water. The device spins the clothes to release the sweat, which it then filters, distils and purifies. The BBC’s report into it can be read here

http://www.bbc.co.uk/news/technology-23360907

The machine was produced to provoke public awareness of the importance of drinking water in the developing world. It’s makers state that it will never be put into production, as there are better ways of purifying water, such as water purification pills. Nevertheless, if the purification process used could be combined with a type of garment permeated with channels to hold and circulate water, something like Dune’s stillsuit would be produced. Astronauts already where something similar in their water-cooled undergarment, which regulates their temperature during space walks. And if a stillsuit could be produced affordably, it would allow greater human exploration and exploitation of Earth’s deserts, like the Sahara, Namibian and Gobi.

Spacesuit

Astronaut’s watercooled undersuit

Source: Michael Freeman, Space Traveller’s Handbook (London: Hamlyn 1979)

With that technology, we could be a small step closer to the time, when no-one should die for lack of water.