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"There's a poetry in the materials we use to construct our world of artifacts; it speaks of our long history as a technological species."
- William Gibson
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| Centrifugal Force Creates 'Artificial Gravity' | ||
| Using centrifugal force in a rotating cylinder as a substitute for gravity. |
Very early use of this idea in science fiction.
| They entered an elevator. Three minutes later they stepped off upon the side of the great cylinder that housed the City, and entered a low building with a broad concrete road curving up before it. As they stepped out, it gave Bill a curious dizzy feeling to look up and see busy streets, inverted, a mile above his head. The road before them curved smoothly up on either hand, bordered with beautiful trees, until its ends met again above his head.
The centrifugal force that held objects against the sides of the cylinder acted in precisely the same way as gravity on the earth—except that it pulled away from the center of the cylinder, instead of toward it. |
| Technovelgy from The Prince of Space,
by Jack Williamson. Published by Amazing Stories in 1931 Additional resources -
|
See the entry for city of space from this same work for a more detailed discussion about artificial gravity.
For the first use of the idea see artificial gravity from Brigands of the Moon (1930) by Ray Cummings. Published the same year was the artificial gravity system from Last and First Men (1930) by Olaf Stapledon. See also paragravity from Collision Orbit (1941) by Jack Williamson.
This basic problem of space travel was recognized as early as the 17th century; see the entry for weightlessness in space from The Man in the Moone (1638), by Francis Godwin.
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'Our planes are going to start bringing in bales of discarded plastics...'
'... completely forgetting the ship at sight of the awesome figure and great head of the giant Gaut...'
'So, Ender, we will now begin your education.'
'What strange sensitivity! What an amazing development of science was manifested in every move and act and word of this Robot!'
'Forget the head atop it, the legs below, feet, arms, hands. It compels erasure.'
'That explains how it was so easy for me to remain motionless in midair or to perch on a flagpole in imitation of a giant bird, even in the windy city of Chicago.'
'The thirty-odd miles of The Factory’s circumference...'
'Wandering mines, you took them out on the edge of the desert, set them down and activated them.'
