Showing posts with label history. Show all posts
Showing posts with label history. Show all posts

Tuesday, February 19, 2013

Future Past Histories: The Visioneers, Gerard O'Neill, & Eric Drexler

"At every crossway on the road that leads to the future, each progressive spirit is opposed by a thousand men appointed to guard the past. Let us have no fear lest the fair towers of former days be sufficiently defended. The least that the most timid among us can do is not to add to the immense dead weight which nature drags along.” 

-- Count Maurice Maeterlinck (1862-1949 Belgium poet, dramatist, essayist - Nobel Prize winner for literature 1911): Our Social Duty 





The San Jose Tech Museum’s monthly lecture series recently featured UCSB Professor of History W. Patrick McCrays presentation based on his science history, The Visioneers: How a Group of Elite Scientists Pursued Space Colonies, Nanotechnologies, and a Limitless Future.

This story is as important as it is outlandish.

To the speaker first, then the narrative. McCray’s engaging, highly informed style was the perfect pitch tone to convey the stories of Princeton physicist Gerard K. O’Neill and MIT-trained engineer K. Eric Drexler and their expansive, yet often divergent ideas, about future-technologies and limits on science.

McCray relays a science history, which in-of-itself is awesome, yet where McCray excels is by texturing the lives of these two futurists within the larger sociocultural, economic, and political environments in which they operated. Here is a larger-than-earth narrative, (as Paul Saffo, managing director, Discern, wrote so eloquently about McCray’s book), about visionaries who fought against “the gravity of habit and convention.”

A thousand men indeed.

The narrative begins in the early 1960s with Gerard O’Neill’s futurism and space expansion theories. The story is connected to the birth and growth of nanotechnologies and Eric Drexler in the 1990s, and concludes with the explosion of technologies in the early part of the 21st century…all the while crisscrossing through U.S. popular cultural, political, and economic histories.

“Ballast exists everywhere; all the pebbles of the harbor, all the sand of the beach, will serve for that. But sails are rare and precious things; their place is not in the murk of the well, but amid the light of the tall masts, where they will collect the winds of space.”

-- Count Maurice Maeterlinck

There are striking similarities and differences between the stories of these two futurists who had the ability to generate interest and mobilize supporters, hunt down funding and grants from unconventional sources, engage popular imagination and discourse, produce hard science, and navigate political and legislative bodies, while jutting up against the walls of forbidden science. These were futurists who extrapolated (in many cases in very concrete ways) what was possible in near future (the next 15-20 years).

It is a story about science, the human experience, fame, money, counterculture, libertarianism, future technologies, space, politics, legislation, academe, economics, and the very root and meanings of life.

This is a contested terrain. McCray astutely stated in his lecture: “The future is a politically contested space.”

The Short Story: Enter Gerard K. O’Neill (trained physicist, early futurist), who has the vision and the technical skills to conceive of space colonies and some of the apparatus needed to support life in space. His work coincides with the development of eco-catastrophism narratives expressed in film, TV, and science fiction of the 1960s and 1970s. This coincided with the release of Limits to Growth (1972) authored by Donella H. Meadows, Dennis L. Meadows, Jørgen Randers, and William W. Behrens III. Computational modeling was used to explore how exponential growth interacted with finite resources. The theory and data analysis picked up social steam with the growth of the eco-movement, and were punctuated by the oil shortages that occurred in the US in the 1970s.

Some critics of the constraints of the limits theory countered that it coded for maintenance of the status quo. O’Neill and his comrades responded to the controls of the finite with a focus on the infinite….space…the colonization and humanization of space.

In the 1970s, O’Neill takes the space colonization vision public, drumming-up support on a variety of stages. He publishes an article in Physics Today in 1974; participates in a 1976 penthouse interview; publishes a book, The High Frontier, in 1976; and approaches policy makers and legislators in 1978.

This spurred a social movement which hit its high point with the development of the L5 society, which had slogans that wouldn’t look at out-of-place at a Singularity Summit. Not surprisingly, McCray relayed in his lecture that locations that had robust technology or aerospace infrastructures supported these burgeoning groups. Places like Silicon Valley, which served as an idealized backdrop for one of O’Neill’s space colony projections.

Here is a recent rendering of O’Neill’s space colony vision rendered in modern graphics (Terasem 02 O'Neill Space Colony). 



McCray examined the projected costs of O’Neill’s projects, considering costs of other outlandish building projects of the 1970s, and finds that ONeill’s estimates were not in the realm of science fiction.

Aspects of the social Left cast a skeptical eye toward the space exploration vision, seeing growth into space as an extension of the military industrial complex. Here is an interesting article from the Atlantic on oppostion to Apollo. Others, such as Timothy Leary, drew from a different well; espousing nascent ideas about life extension and the limits of human consciousness…here we see some early examples of transhumanism.

For the second part of this incredible science history, go here, and join me in thinking about the challenges we face when we gaze ever-up and ever-forward.

Postscript: This lecture and book generated so many critical questions and thoughts. Anachronistic as it might be, consider how different these stories would have been without the Cold War. If these stories had occurred during an era of open-access science…how much more might we have explored without the guardians of habit and routine…and what of my own guardianship? Learning about the early stories of techno-science is especially resonant for me as native of Silicon Valley. These stories hold local, national, and global significance, yet remain intensely personal.

Sunday, February 10, 2013

Musical Time Machine: The Band & Dr. Dog

Music connects time, place, memory, emotion, and sound. It marks, punctuates, and accents the many macro and micro moments of our lives. When the music itself is built out of musical histories and genres, it makes the marks on our lives all the more indelible. 


A select few bands are able to capture all of that simultaneously. Time, Place, Memory, Emotion,   Sound.

When musicians weave these influences while penning something new and fresh...we are in precious territory.

For Consideration: The Band and Dr. Dog. Two groups that artfully weave folk, gospel, rock, pop, ballad, funk, soul, country, roots, and eclectica.

Here then for your listening pleasure is a video one-two punch from two important groups with noted similarities that straddle American musical genres, linking us to something bigger and deeper than self, while acknowledging the place of the individual in the social collective human experience.

The Band: Detailed information can be found here

Brief Wiki Bio: "The Band was a Canadian-American roots rock group that originally consisted of Rick Danko (bass guitar, double bass, fiddle, trombone, vocals), Levon Helm (drums, mandolin, guitar, vocals), Garth Hudson (keyboard instruments, saxophones, trumpet), Richard Manuel (piano, drums, baritone saxophone, vocals) and Robbie Robertson (guitar, vocals). The members of the Band first came together as they joined rockabilly singer Ronnie Hawkins's backing group, The Hawks, one by one between 1958 and 1963."

"In 1964, they separated from Hawkins, after which they toured and released a few singles as Levon and the Hawks and the Canadian Squires. The next year, Bob Dylan hired them for his U.S. tour in 1965 and world tour in 1966.[1] Following the 1966 tour, the group moved with Dylan to Saugerties, New York, where they made the informal 1967 recordings that became The Basement Tapes, which forged the basis for their 1968 debut album Music from Big Pink. Because they were always "the band" to various frontmen, Helm said the name "The Band" worked well when the group came into its own.[2][N 1] The group began performing officially as The Band in 1968, and went on to release ten studio albums. Dylan continued to collaborate with The Band over the course of their career, including a joint 1974 tour."

"The original configuration of The Band ended its touring career in 1976 with an elaborate live ballroom performance featuring numerous musical celebrities. This performance was immortalized in Martin Scorsese's 1978 documentary The Last Waltz." (Wiki, 2013).

The Band: Big Pink

Dr. Dog: Detailed information here. 

Brief Wiki Bio: "Dr. Dog is an indie rock band from West Grove, Pennsylvania.[1] Its lineup consists of Toby Leaman (bass guitar), Scott McMicken (lead guitar), Frank McElroy (rhythm guitar), Zach Miller (keyboard), andEric Slick (drums). Lead vocal duties are shared between Leaman and McMicken, with all members contributing harmonies. In addition, each band member has a nickname, and they have explained that friends of the band also receive nicknames, which are drawn from aspects of their lives and personalities (Former member Andrew "Trial" Jones, for example, is a licensed attorney).[2]"

"The band's unique version of indie rock is strongly influenced by bands of the 1960s. Their earlier recordings show influence of the lo-fi sound and pop sensibilities of indie rock bands of the 1990s, such as Guided By Voices and Pavement.[3] Recent albums have featured more polished production" (Wiki, 2013).

Dr. Dog: Fate