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    Around Distant Suns
    Around Distant Suns
    Around Distant Suns
    Ebook140 pages1 hour

    Around Distant Suns

    By Emma Johanna Puranen

    ()

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    About this ebook

    What happens when scientists and writers collaborate in the creative process?

    Unique stories of distant planets, alien encounters, emergent life, and talking clouds, that's what.

    Writers were paired with researchers from the University of St Andrews Centre for Exoplanet Science — experts in astrobiology, gravitational microlensing, Miller-Urey experiments, and exoplanet atmospheres. Each pair met several times: to get to know each other, discuss the researcher's work, and let ideas spark.

    From these conversations emerged short stories, poems, and radio plays. Some are closely tied to the research work, others are flights of the imagination alighting from that point. All are fascinating results of the mixing of ideas.

    In the last two decades science has discovered an abundance of planetary systems. But science fiction writers have been writing about exoplanets for a good deal longer than scientists. Thus, science fiction is a crucial tool for learning about how humans might interact with these far-off planets. Both groups are addressing deeper questions — what is life, where did we come from, are we alone, what does it all mean — from different angles. See how both fields benefit from collaborations such as found here.

    LanguageEnglish
    PublisherGuardbridge Books
    Release dateMar 5, 2022
    ISBN9781911486664
    Around Distant Suns

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      Book preview

      Around Distant Suns - Emma Johanna Puranen

      Introduction

      Emma Johanna Puranen

      I always thought being a science consultant for a major motion picture sounded like the coolest job in the world. Imagine—working with a writer or a director to figure out how that time machine might work, or what that black hole might look like, or which colours of light those aliens would see. When I found out that the reality of being a science consultant is usually sitting down for a single conversation with a filmmaker, answering some questions, never hearing from them again and learning the results along with everyone else when the movie comes out—I was a little disappointed, to say the least.

      What might happen if science consultants were more involved in the creative process? Last December, I decided I wanted to find out. I have no sway over Hollywood, but I am able to get together a group of creative writers and a group of exoplanet scientists. I asked around at the St Andrews Centre for Exoplanet Science, where I am a doctoral student, and soon enough I had experts in astrobiology, gravitational microlensing, Miller-Urey experiments, and exoplanet atmospheres on board. A few e-mail exchanges with the School of English introduced me to a talented crew of writers. Everyone was up to the challenge and adventure, eager to share their art and their science.

      I paired writers and researchers, and over the course of a few months each pair met several times. They got to know each other and then discussed the researcher’s work, tossing around story ideas and looking for a spark. I emphasised that the researcher had to remain involved throughout the process, not just at the beginning, though I left the details of how that might work up to each pair. Other than the story needing to be inspired by the research, I gave very little guidance as to what to write—I wanted to see what each pair would come up with. And my trust could not have been better-placed—the results of these creative exchanges are the nine incredible stories, poems, and radio plays in the volume before you.

      Now, I believe science fiction authors are under no obligation to get the science right—their works are fiction for a reason—and yet, I have heard many of them express that they want to. Real science, after all, often inspires their works, and many science fiction authors are the types who read popular science articles and eagerly follow NASA missions. As well, science fiction is extremely influential, and can be used as a tool for public outreach and science communication—one that avoids the immediate eyes-glazing-over response that accompanies the rolling out of an equation-covered blackboard. For example, take a quick poll of your friends: how many have heard of Kepler-16b? How many have heard of Tatooine? Both are circumbinary exoplanets—an exoplanet is a planet outside our solar system, and a circumbinary one orbits around two stars—but the fictional planet is much better-known than the real planet. Even if people aren’t acquainted with the jargon-heavy term circumbinary exoplanet, they already understand the concept perfectly—thanks to science fiction. Scientists took advantage of this familiar teaching tool in press releases when Kepler-16b’s discovery was announced, calling it a Tatooine planet.

      Scientists do a lot of computer modelling—that is, setting certain parameters, like, say, the temperature and chemical makeup of an atmosphere—and then running simulations to see what will happen. In my example, that would be how the atmosphere might change over time. Science fiction writers are also running models—but instead of if the temperature is set to X, what will the wind speeds be? or is molecular oxygen stable in the long term in this atmosphere? their models focus on human reactions, addressing questions like how would society change if scientists successfully create life in a lab? or what would it feel like to be educated in cryosleep? Ultimately, both groups are addressing deeper questions—what is life, where did we come from, are we alone, what does it all mean — from different angles.

      I encouraged the pairs to think about where to stay realistic, where to be plausible, and where to make things up. All three of these are important, and science should serve as an inspiration and a guide, but it is not a limiter for fiction. On the contrary, the mantra truth is stranger than fiction is often applicable—why set all your stories on copy-pasted Earths when you can visit a hot Jupiter? These gas giants orbit blisteringly close to their host stars, and until they were first discovered in the 1990s, they were thought to go against the rules of solar system formation. Science opens up a plethora of new ideas for stories, settings, plots, and characters.

      We are living in an era of unprecedented discovery of exoplanets. The first ones were discovered just over two decades ago, and since then, we have found thousands. This is an incredibly exciting time to be an exoplanet researcher, and we at the Centre for Exoplanet Science have been busier than ever (to learn more about our work, visit us at https://exoplanets.wp.st-andrews.ac.uk/). The stories in this volume capture the joys, the frustrations, and the sheer wonders that accompany straining your eyes to search for other worlds, and for hints at life. Humanity has just barely opened our eyes to the universe, and our vision is still adjusting to the dark. Exoplanet science is a field that is no stranger to the unknown, so we understand the rewards—and the necessity — of interdisciplinarity, of making our own science richer for collaborating with experts from other subjects. Science fiction is a crucial tool for learning about how humans might interact with these far-off planets—after all, science fiction writers have been writing en masse about exoplanets a good deal longer than scientists.

      The Impalpable

      Our cover art is the brilliant work ‘The Impalpable’ by Belgian artist Tinne De Vis. Her piece is part of the Ex(p)oplanet project at the Interdisciplinary Studio at SLAC Leuven. Ex(p)oplanet is itself a bridge between art and science, bringing together astrophysicists from the CHAMELEON project, who are researching the origins and atmospheres of exoplanets, with art students to broaden horizons and address the question ‘How can art and science meet, strengthen and challenge each other, and propose new insights?’

      In Tinne’s own words, the cover illustration is ‘a future box displaying wild exoplanetary elements’, in this case based on the real exoplanet Tau Ceti f, representing ‘a lightyears’ sensation at this tiny restricted moment’.

      image of icy cube with black background

      The Stripped Core

      Writer: Colin Bramwell

      Researcher: Dominic Samra

      Now that I am approaching the final stages of life, I find myself thinking more and more about the kind of world we have made for our children. How often do men of my age tell us that they regret nothing? An irresponsible cliché, to my mind. A fallback position for those incapable of examining their own lives critically, even. If I could live my time on this planet again, avoiding the innumerable mistakes that I have made in the course of my existence, I would see it as my responsibility do so.

      In the last war, I lost an eye and gained a son. I have tried to instil a sense of purpose in the boy. Although Alex performs reasonably well at school, he gives the impression of being lazy and incurious. Many of his report cards describe him as ‘a dreamer’. It’s not that he doesn’t do well! It’s that he often forgets to look up, if you catch my meaning. The benefits of Exterior Schooling to such a boy are unquestionable. I am particularly impressed with the ‘stripped core’ initiation, which feels to me like a purposive advancement of ‘gaming development’ for children of his age. In your

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