Posts Tagged ‘‘Out of the Silent Planet’

Arthur C. Clarke Book on the Terraforming of Mars

March 18, 2017

Arthur C. Clarke – The Snows of Olympus: A Garden on Mars – The Illustrated History of Man’s Colonization of Mars (London: Victor Gollancz 1994).

A little while ago I put up a number of articles on the possible terraforming of various planets in our solar system. The prime candidate at the moment would be Mars, but people have also suggested ways to terraform Venus and the Moon. I’ve managed to dig out from my bookshelves a copy of Arthur C. Clarke’s book, The Snows of Olympus, which I bought way back in the 1990s. Clarke’s been called ‘The Space Prophet’ because of his article published in a radio hobbyists’ magazine shortly after the War predicting geostationary communications satellites. He has jokingly said in an article ‘How I Lost a Million Dollars in My Spare Time’ that he should have patented the concept, and so made himself a billionaire because of its immense value to the telecommunications industry. This book is no less prophetic in that it uses computer simulations to depict the gradual greening of the Red Planet over a thousand year period from the next few centuries to c. 3000.

The book has a prologue, in which Clarke gives the text of a speech he gave to future Martian colonists as part of the Planetary Society’s ‘Visions of Mars Project’. Launched by the late and much-missed astronomer and space visionary, Carl Sagan, this was a project to send the future colonists the gift of a collection of SF short stories about Mars aboard two probes due to land there. There’s then a short introduction in which Clarke lays out the aims of the book. The first chapter, ‘Prelude to Mars’, discusses the history of the exploration of the Red Planet by terrestrial astronomers and writers, such as Giovanni Schiaparelli, Percival Lowell, H.G. Wells and Edgar Rice Burroughs, C.S. Lewis in Out of the Silent Planet, and the controversy surrounding the supposed ‘face’ on Mars, made by Richard Hoagland and others.

Chapter 2 – ‘The Curtain Rises’ – is on the probes sent to explore Mars, such as the Mariner probes and discussion between himself, Sagan, Ray Bradbury and the JPL’s Bruce Murray at the Jet Propulsion Laboratory on the probes and their findings. He goes on to discuss Viking probes and the debate about American and Russian cooperative ventures in space research. This last ended for a time because of international tensions created by the Solidarity crisis in Poland.

Chapter 3 – ‘Going There’, describes the problems and suggested methods for reaching Mars, establishing crewed bases there, including various types of rocket from the conventional chemical to nuclear-thermal and atomic; solar sails and space elevators, George Bush seniors’ intention to launch a crewed mission to Mars by 2019, and the tasks that would immediately face the astronauts landing there.

Chapter 4- ‘Virtual Explorations’ is on the use of computers and VR to explore and map Mars, and particularly the Vistapro programme used in the generation of many of the images in the book.

Chapter 5 is on the artistic and computer depictions of Olympus Mons, the planet’s highest mountain and the gradual reclamation of its surface by vegetation, beginning with lichens, during the long centuries of terraforming. This culminates in the emergence of liquid water and creation of a sea surrounding the mountain.

Chapter 6 does the same for Eos Chasma, the ‘Chasm of the Dawn’, in the Valles Marineris.

Chapter 7 shows the same process as it would affect the Noctes Labyrinthes – the Labyrinth of Night. This forecasts the growth of forests in this part of Mars, beginning with pines but later including deciduous trees.

Chapter 8 – ‘The Longest Spring’ discusses the various methods that could be used to terraform Mars, such as coating the ice caps with carbon from Mars’ moon, Phobos, the use of orbiting mirrors to melt them, raising its temperature by turning Phobos into a miniature sun for about 40 days using ‘muon resonance’ – a form of nuclear reaction, and bombarding the planet with comets to cover it with water, and ‘Von Neumann’ machines that would gradually terraform the planet automatically.

‘Disneymars’ looks forward to a museum display and audiovisual presentation that would show the colonists what their planet would look like in the future as the terraforming progresses.

Chapter 9 – ‘Concerning Ends and Means’ discusses the moral dimension of terraforming, the immense historical importance of exploration and the need to continue this exploration to the Red Planet in order to preserve human civilisation and progress.

There are two appendices. The first is an extract from a speech, The Mars Project: Journeys beyond the Cold War, by US senator and WWII hero, Spark Matsunaga. The second, ‘So You’re Going to Mars’, is fictional advice given by the immigration authorities to people moving from Earth to Mars.

The quality of the computer graphics is mixed. Many of them, which were without doubt absolutely astonishing for the time, now look rather crude and dated as the technology has improved. Others, however, still stand up very well even today. The quality of the computer simulations of the terraforming process can be seen from this image below of what Eos Chasma might look like in 2500 AD.

There are also plenty of illustrations of Mars, rendered using more traditional artistic methods such as painting, including photos of Percival Lowell’s own drawings of what he believed was the planet’s network of canals.

Although the computer tools may have been superseded and improved in the decades since the book’s publication, I think the science, and the social issues Clarke discusses, are still solidly relevant and contemporary. Certainly there is now a popular movement to send humans to the Red Planet at some point in the coming decades, and prospective future colonists have even come forward to volunteer a few years ago. There is, however, a greater awareness of the medical dangers from radiation and microgravity that would affect – and possibly destroy – a mission to Mars. The dream, however, is still there, as shown by the success of the film The Martian a few years ago.

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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.