Space Treaty

Posted on  by Bill Kandiliotis in Science and TechnologySpace

Ad Astra (2019)

When science fiction attempts to get serious about how to best represent the human colonisation of the solar system, films like Ad Astra (2019) establish free enterprise as the plot devises for the story. With commercial flights to the moon, a Luna base that looks like an airport on Earth, fast food facilities, piracy, and private space laboratories…

…The future of space travel is business.

No human society is going to get off-Earth and colonise the solar system without a powerful driver propelling it. Scientific curiosity can raise billions of dollars to send robots out there to learn things, but inducement is a far greater and more effective driver known to mankind. I’m not talking about a business proposal that sends humans to Mars for a reality TV program, space-faring humans require more of a legal framework, or better, the lack of one, to get it going.

One doesn’t simply just go to Mars.

Ad Astra (2019)

Japanese space startup, iSpace, has long-term plans to send humans to the moon. To get to that point, the company aims to make the endeavour profitable by launching basic small-scale missions to the moon’s surface to collect regolith samples… and sell them.

But NASA paying just $5000 for the samples is not the end game.

iSpace is also planning to launch satellites around the moon’s orbit to provide high-resolution images of the surface. To achieve any of this, the Japanese government passed a law granting iSpace a licence to prospect for, extract and use various space resources on the Moon. Why do companies need permission to exploit space?

Well, there’s a whole bunch of Space Treaties that block any determination about who owns the Moon, or any other space resource, and stifle any entity, corporate or otherwise from exploiting it. According to The United Nations Office for Outer Space Affairs (UNOOSA) webpage…

Each of the treaties stresses the notion that outer space, the activities carried out in outer space and whatever benefits might be accrued from outer space should be devoted to enhancing the well-being of all countries and humankind, with an emphasis on promoting international cooperationUNOOSA

Ad Astra (2019)

The 1966 Outer Space Treaty states that “outer space is not subject to national appropriation by claim of sovereignty, by means of use or occupation, or by any other means”.

Another is the 1979 Moon Treaty, which states “the orderly and safe use of the natural lunar resources with an equitable sharing by all state parties in the benefits derived from those resources”.

Here is a summary of what The United Nations has signed up most countries for.

Treaty on Principles Governing the Activities of States in the Exploration and Use of Outer Space, including the Moon and Other Celestial Bodies

Ad Astra (2019)

Article 1.

Essentially puts forth egalitarian access to all celestial bodies. Everyone is free to explore unhindered for the benefit of all nations. You are allowed to go to any celestial body and do whatever you want, but it’s still vague whether you can capitalise on anything you find.

Article 2

You can not claim sovereignty on any celestial territory.

Outer space, including the Moon and other celestial bodies, is not subject
to national appropriation by claim of sovereignty, by means of use or occupation, or by any other means.
UNOOSA

There is no ambiguity here. I wonder what trouble in the future this will cause.

Article 3

Determines that you are bound to international laws and to the promotion of peace and cooperation.

Article 4

No weapons in orbit or on the moon or anywhere. Sure, you can be military personnel, but no weapons.

Ad Astra (2019)

Article 5

Astronauts are to be protected and afforded help and assistance in the event of an accident. Astronauts must help other astronauts in space. And, astronauts must report any “phenomena they discover in outer space, which could constitute a danger.”

Article 6

Governments are responsible for what their national corporations do in outer space and whether or not they are compliant.

Article 7

Get liability insurance. If you launch or attempt to land a spacecraft, and it crashes in an other another country, you are liable.

Article 8

You have legal jurisdiction over whatever you launch into space.

Article 9

Do not bring back “extraterrestrial matter” that can contaminate the Earth, and do not pollute space with experiments that can harm other space farers.

Article 10

“Promote international cooperation” by letting less techy countries come and observe your endeavours.

Article 11

If you’re planning a mission into space, you have to tell everybody what you are doing.

Article 12

“Reciprocity” You have to allow rivals into your base, craft or any installation you have in space. They have to do the same.

Ad Astra (2019)

Article 13

If you have an issue with another astronaut from another country; or countries, take it up with the “appropriate” authorities, or complain to other member nations of the treaty, and get them to gang up on the offending party.

In other words, doesn’t look like OOSA is able to intervene.


Articles 14 to 17 deal with the how and who can amend, and other housekeeping rules.

There are five U.N. accords with the addition of the “1968 Rescue Agreement”, The “1972 Liability Convention” and the “1975 Registration Convention”.

The Artemis Accords

The United States via NASA has recently set up a separate non-binding multilateral arrangement with the space agencies of 21 other countries. The Artemis program aims to return humans to the Moon by 2025, and then to Mars. The countries who have signed up to this accord pledge to enable laws that endorse and enable their public and private agencies to extract and use space resources.

The US has introduced laws giving American companies the right to the resources they extract in space, the moon or any other celestial body. Britain, Luxembourg and the United Arab Emirates have since passed similar legislation, same as Japan.

But not Russia.

Ad Astra (2019)

They are sticking to the old U.N. rules, I’m guessing because they are not ready to compete in space with the likes of the West’s private sector companies. They call it a land grab, which in reality it is. Treaties, accords and agreements are a subterfuge for holding national and corporate powers back for as long as possible. Participants agree to these terms so they don’t get left behind. Just like in the case of the Antarctic Treaty, nobody wants a free for all. Space colonisation is very expensive, so if a free for all occurs, and you can’t afford it, you will miss out.

Once Russia feels confident with its public and private sectors, then Roscosmos will change its tune about any egalitarian notions of common heritage and of space belonging to everyone.

China and India too.

Ad Astra (2019)

The conquest of space will be no different to the conquest of the new world.

Profits will drive the engines, whether this is powered by space tourism, reality TV programs, or mining resources. The Industrial Military Complex will also be a major player, no matter how hard these treaties try to avoid the militarization of space. Treaties are only worth the paper they’re printed on, or the PDF they’re documented on.

The future of space travel will be messy, ad-hoc and business as usual, just as human affairs have been for the past ten thousand years.

Panology of Science Fiction: G

Geography

Nothing builds intricate worlds like the attention to detail given to the story’s geography. What makes a setting compelling is the effort that goes into creating elaborate planets that are logical and familiar in terms of geology, history, climate and all that encompasses the geographical nature of the fictional world.

The more variety and complexity a world has, the further it enhances the other elements in the story. Physical environments can affect the plot and character, and determine what social organizations, culture and belief systems populate the place.

Variance is important. You can’t just have a planet depicted as having single forms of environments. Entirely desertic, or forested planets make no sense. Unless it’s an airless or complete snowball world, any grassland planets, swamp planets, ocean planets, and even a completely urbanized planet packed would have different temperate zones. They would be colder at the poles, and hotter at the equator. Mountain ranges and oceans would make a difference. And if tidally locked, the climate should provide enough variation to create a complex ecological system.


Arrakis of Dune

Dune (1965) – Frank Herbert

Dune Map
https://www.deviantart.com/giacomopueroni/art/Dune-Map-177670864

Hyperion

 Hyperion (1989) and The Fall of Hyperion (1990), by Dan Simmons

The Mars Trilogy

Red Mars (1992), Green Mars (1993), and Blue Mars (1996) by Kim Stanley Robinson

Dragonriders of Pern

Dragonflight (1968), Dragonquest (1970), The White Dragon (1978) by Anne McCaffrey

Marjipoor 

Lord Valentine’s Castle (1980), Majipoor Chronicles (1982), Valentine Pontifex (1983), The Mountains of Majipoor (1995) by Robert Silverberg

Helliconia

Helliconia Spring (1982), Helliconia Summer (1983), and Helliconia Winter (1985) by Brian W. Aldis

Helliconia Map

Panology of Science Fiction: E

Engineering

A good science fiction story should be able to predict not the automobile but the traffic jamFrederik Pohl

prosthetic arm on blue background
Photo by ThisIsEngineering on Pexels.com

It was stories about the ‘mad scientist’ that kicked off genre literature, ever since Daedalus fabricated wings from feathers and wax for himself and his son Icarus. Invention is the heart of all sci-fi stories, which in turn becomes the heart of inspiration that turns science fantasy into reality. Geosynchronous communications satellites, computer worms, Segways, wall-mounted home theatres, exoskeletons, smartphones, virtual worlds, and organ harvesting were all described by sci-fi writers long before engineers turned them into reality.

Many authors are indeed engineers and scientists, Arthur C. Clarke, Edward E. “Doc” Smith, Joe Haldeman and Isaac Asimov to name just a few, making their work some of the best sci-fi out there. They get to create and test theoretical technology in fiction and at the same time, get inspired to dream up solutions in the real, current world.

Engineering is obviously fundamental to all sci-fi stories, and not only to have fantastical new technology for your characters to play with, but also to ‘engineer’ a world, a society that is victim to the ramifications to the inventions that pervade it.

Engineering is the plot device of plot devices.


Automatic City

A city designed to protect itself and maintain itself over millions of years.

The Man in the Maze, by Robert Silverberg.

Published by Avon Books in 1969


Chronoscope

A device used to see into specific internals of time.

From Legion of Time, by Jack Williamson.

Published by Astounding Science Fiction in 1938


Ice-Nine

A crystalline form of water so stable that in practical terms it would never melt.

From Cat’s Cradle, by Kurt Vonnegut, Jr.

Published by Random House in 1963


The Metaverse

A virtual universe.

Snow Crash, by Neal Stephenson.

Published by Bantam in 1992


Repellor Anti-Gravity Rays

The device provides support for planet-side air travel.

Armageddon: 2419 A.D. , by Philip Frances Nowlan

Published by Amazing Stories in 1928


Rhennius Machine

A device of alien manufacture, which will reverse, or turn inside out, any object passed through its mobilator.

Doorways in the Sand, by Roger Zelazny.

Published by Harper Science Fiction in 1976


Virtual Immortality

A method for storing the mind and memories of a person, and recalling and reconstituting them at will.

The City and the Stars, by Arthur C. Clarke.

Published by Unknown in 1956

Panology of Science Fiction: D

Disease

Whether its curing existing diseases or encountering new ones, a bit or a lot of pathology doesn’t hurt a story or make for a bad plot device. Injecting fear and dread into any scenario can be as easy as prescribing an epidemiologist or two.

The scope in speculating future disease can again be endless, e.g microbial, fungal, genetic, psychiatric, crystalline extraterrestrial agents, or cyber infections

Space-whirly, Plague Ship by Andre Norton

Denver Madness, The Sheep Look Up by John Brunner

The Green Line of Death, The Andromeda Strain by Michael Crichton

Helico virus & Silent Untreated Disease Syndrome, Brian Aldiss’s Helliconia Trilogy

Vampiris pandemic,I Am Legend by Richard Matheson

Zombie plague, World War Z: An Oral History of the Zombie War by Max Brooks.

Snow Crash, Snow Crash by Neal Stephenson

See also Plagues in Science Fiction and Fantasy

Panology of Science Fiction: B

Panology of Science Fiction: B

Posted on  by Bill Kandiliotis in Panology

Biology

Biology is a fascinating and diverse field of science that explores the living world and its interactions. Science fiction is a genre that uses biological concepts, themes, or elements to create imaginative stories, worlds, and creatures. Some aspects of biology that are commonly found in science fiction include evolution, disease, genetics, physiology, parasitism, and symbiosis.


Some examples of biology in science fiction are:

  • Speculative evolution: This is the idea of imagining how life forms could evolve in different scenarios, such as on other planets, in the distant future, or in an alternate history. Speculative evolution is often based on real biological principles and processes, such as natural selection, adaptation, and convergence. Some works that feature speculative evolution are H. G. Wells’s The Time Machine, Dougal Dixon’s After Man, and Wayne Barlowe’s Expedition.
  • Disease: This is the phenomenon of organisms being affected by harmful agents or conditions, such as viruses, bacteria, parasites, toxins, or environmental factors. A pandemic can be used as a plot device, a metaphor, a challenge, or a threat in science fiction stories. Some works that feature disease are Jack London’s The Scarlet Plague, Michael Crichton’s The Andromeda Strain, and Margaret Atwood’s Oryx and Crake.
  • Genetics: This is the branch of biology that studies the inheritance and variation of traits in organisms, such as genes, chromosomes, DNA, and mutations. Genetics can be used to explore themes such as identity, diversity, ethics, and power in science fiction stories. Some works that feature genetics are Aldous Huxley’s Brave New World, Frank Herbert’s Dune, and Orson Scott Card’s Ender’s Game.

This field of science is a given.

Even if the story doesn’t involve alien ecosystems, a near or far-future world is an undiscovered country of new manifestations of living things, human or otherwise. What have we so far found living on this planet?  Plants, animals, fungi, bacteria, slime moulds, archaea. From synthetic to quantum biology, the list of organisms that can be conjured up is endless.


Brian Aldiss

Aldiss demonstrated a keen interest in the natural sciences, particularly biology, and skillfully merged it with imaginative storytelling. His works often feature richly detailed biological worlds, where exotic and alien life forms interact with human characters. Aldiss seamlessly integrates biological concepts and principles, crafting intricate ecosystems, evolutionary processes, and symbiotic relationships that add depth and authenticity to his narratives.

Whether exploring genetic engineering, ecological systems, or the implications of human evolution, Aldiss’s use of biology in fiction goes beyond mere backdrop and becomes an integral part of the story. His adept portrayal of biological themes serves to emphasize the interconnectivity of life, the fragility of ecosystems, and the profound impact of scientific advancements on humanity. Aldiss’s ability to blend biology with speculative fiction showcases his skill in bridging the realms of science and imagination, leaving an indelible mark on the genre.

Udods, The Dark Light Years 

Hothouse

“Hothouse,” is set in a distant future where the Earth’s flora has evolved dramatically, and numerous unique and fascinating creatures inhabit the lush and perilous world.

  1. Traversers: These are large, intelligent plants capable of moving and communicating with humans. They play a crucial role in the novel as characters interact and form alliances with them.
  2. Symbiants: These creatures are a hybrid of animals and plants, combining the characteristics of both. They have the ability to photosynthesize and use their leaf-like appendages for camouflage and defense.
  3. Bats: Bats have evolved into massive creatures, resembling pterodactyls, with a voracious appetite for the smaller creatures of the forest.
  4. Mucoids: These slimy, amorphous beings inhabit the humid and murky depths of the forest. They possess a rudimentary intelligence and prey on smaller creatures that venture into their territory.
  5. Sunflowers: Enormous sunflowers have evolved into towering, mobile entities. They possess rudimentary intelligence and serve as sentinels and protectors of the forest.
  6. Fungi: Various types of fungi populate the forest, some of which are dangerous and deadly to humans. Others play a crucial role in the ecosystem, acting as decomposers and nutrient recyclers.
  7. Carnivorous plants: There are numerous carnivorous plants throughout the forest, ranging from stationary varieties that lure in unsuspecting prey to mobile, aggressive ones capable of pursuing their targets.
  8. Tummy-bellies: Small, slug-like creatures that serve as a primary food source for many of the larger creatures in the forest.

Helliconia Series

In Brian Aldiss’s “Helliconia” series, which consists of three novels set on a planet named Helliconia, there is a rich array of creatures that inhabit the planet’s diverse ecosystems.

Wutra Worm

The Wutra’s Worm is a colossal creature in the world of Helliconia, whose lifespan aligns with the vast cycle known as the Great Year. It is akin to a legendary dragon of Helliconia. During the summer season, the young worms take to the skies, gracefully soaring through the air. As the winter descends, the mature worms shed their wings, becoming wingless and finding refuge in an intricate labyrinth of tunnels that sprawl beneath the surface of Helliconia. These tunnels form an extensive network where the wise and weathered worms reside, braving the cold and harsh conditions of the winter season.

Phagors

The Phagors, also known as ancipitals due to their double-edged horns, are humanoid beings covered in white fur, reminiscent of mythical minotaurs. While roughly the same size as humans, they possess distinct characteristics. Their civilization, though intelligent and with its own language and culture, has never progressed beyond a hunter-gatherer stage. Originating during Helliconia’s earlier cold period, the Phagors differ from humans in several aspects. Their blood is golden instead of red, their internal organs are arranged differently, with their guts situated above their lungs, and their intellect and psychology are utterly alien. They exhibit hardiness and longevity, yet they struggle with warm conditions and water. As a Phagor ages, it gradually shrinks and undergoes keratinization, resembling a lifeless totem devoid of outward signs of life.

Helliconia WInter
Bone Fever and Fat Death

Bone Fever is a viral affliction that affects Helliconia’s humans, marked by an extreme manifestation of anorexia. It spreads rapidly across the globe during the early stages of the Great Spring. Conversely, Fat Death is another disease characterized by an extreme form of binge eating, which becomes an epidemic during the late stages of the Great Autumn.

Both illnesses inflict significant suffering and have alarmingly high mortality rates. However, those who survive are left with bodies drastically altered in composition. Individuals afflicted by Bone Fever become considerably thinner, while those affected by Fat Death experience excessive weight gain and metabolic changes. Consequently, these survivors become better adapted to the forthcoming conditions of either summer or winter, respectively.

Curiously, both diseases stem from the same virus, which is carried by ticks and activated by seasonal environmental shifts. Humans unknowingly share a symbiotic relationship with the virus and, in turn, with the Phagors who harbour the ticks responsible for transmitting the virus.

Certain individuals in remote areas possess a rare immunity to the virus, rendering them outcasts in society due to their stark deviation from the prevailing physical standards—either grotesquely emaciated or morbidly obese.

The presence of Bone Fever and Fat Death in the world of Helliconia highlights the intricate interplay between humans, the virus, and the Phagors. These afflictions shape the physical and social dynamics of the population, introducing a complex web of adaptation, prejudice, and survival.


Robert Silverberg’s Majipoor Cycle

Throughout the series, Silverberg introduces readers to various fascinating creatures that inhabit this fictional realm. Here are some notable lifeforms from the Majipoor Cycle:

Vroons

A smallish, somewhat octopus-like race. Many are wizards, and they are known for the direction-finding and healing arts. Some can see the future in a limited way.HjortsA squat, bipedal race with bulging eyes and grey lumpy skin. While unattractive in appearance, they provide the bulk of the bureaucracy that keeps the vast and complex society of Majipoor operating. Some engage in mercantile activities, as well.

Skandars

A four-armed, shaggy, tall and very strong race. They can be found as cargo-handlers, teamsters and sailing ship crew. A few Skandars take up juggling, and with four arms they are unparalleled at this art. Skandars are known to be obstinate and hot-headed.

Liimen

Liimen are a three-eyed species characterized by their relatively lower level of intelligence. They primarily engage in menial tasks such as fishing, selling grilled meats, and carrying out janitorial duties within the society of Majipoor.

Su-Suheris

A mysterious tall folk with two small heads on a single neck. Through an unknown mechanism, both heads share a single consciousness. A few are great sorcerers or advisers to men of power in the government. Some Su-Suheris have psychic powers and are capable of seeing the future. They tend to be fairly aloof, and perhaps consider themselves better than the other races.

Ghayrogs

The Ghayrogs, a bipedal species with reptilian attributes such as forked tongues and serpentine black hair, are prominent inhabitants of Majipoor. The majority of their population resides in the crystalline city of Dulorn, but Ghayrogs can be encountered in various regions across the planet, with some even holding significant roles within the government. They tend to exhibit minimal emotional expression and require little to no sleep for the majority of the year.

Despite their scaly skin, the Ghayrogs are mammalian beings, distinguished by their intriguing reproductive process of laying eggs. This intriguing blend of reptilian and mammalian characteristics makes the Ghayrogs a unique species within the diverse tapestry of Majipoor.

Piurivar (also called Metamorphs or Shapeshifters)

The original inhabitants of Majipoor were the Shapeshifters, a race that initially resented the arrival of humans and engaged in a long-standing guerrilla conflict. This smouldering war persisted for centuries until Coronal Lord Stiamot took action, gathering and expelling the Metamorphs from Alhanroel, and confining them to a designated reservation on Zimroel. The Shapeshifters, characterized by bipedal forms, flat faces, and green/grey skin, possess a remarkable ability to mimic nearly any bipedal race, rendering themselves virtually indistinguishable from their chosen guise. This shape-shifting prowess greatly aided them in their struggles against early human colonists during Majipoor’s early history


Wyrms by Orson Scott Card

One of the central creatures in the novel is the Wyrm, a powerful and enigmatic being that can shape-shift and possesses psychic abilities. The Wyrms play a crucial role in the story as they interact with human characters and navigate complex political and social dynamics. Additionally, the novel explores other fantastical elements such as telepathic communication and genetic manipulation.

The book includes Geblings, Dwelfs & Gaunts,


Ribofunk by Paul Di Filippo

Ribofunk envisions a future where genetic information becomes a currency, and human DNA is both a commodity and a source of power. In these stories, Di Filippo examines the societal and cultural shifts that occur when genetic manipulation and biotechnology reshape humanity.