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"We were essentially being shell-shocked by rapid change. That was one of the things you needed science-fiction writers for back in the Sixties, because we could cope with the future."
- Peter Watts
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| Lado-Acheson System | ||
| A device for "pumping in" sunlight into an enclosed space habitat. |
| `Welcome to the Rue Jules Verne,' Molly said. `If you have trouble walking, just look at your feet. The perspective's a bitch, if you're not used to it.' They were standing in a broad street that seemed to be the floor of a deep slot or canyon, its either end concealed by subtle angles in the shops and buildings that formed its walls. The light, here, was filtered through fresh green masses of vege tation tumbling from overhanging tiers and balconies that rose above them. The sun... There was a brilliant slash of white somewhere above them, too bright, and the recorded blue of a Cannes sky. He knew that sunlight was pumped in with a Lado-Acheson system whose two-millimeter armature ran the length of the spindle, that they generated a rotating library of sky effects around it, that if the sky were turned off, he'd stare up past the armature of light to the curves of lakes, rooftops of casinos, other streets... But it made no sense to his body. |
| Technovelgy from Neuromancer,
by William Gibson. Published by Phantasia Press in 1984 Additional resources -
|
It can be altered to provide different varieties of sunlight:
Compare to the reflected artificial sun from Revolt on Inferno (1931) by Victor Rousseau, the orbital mirror from Completely Automatic (1941) by Theodore Sturgeon and the Lado-Acheson system from Neuromancer (1984) by William Gibson.
The narrow band of the Lado-Acheson system smoldered in abstract imitation of some Bermudan sunset, striped by shreds of recorded cloud.
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'Chris, the City Fathers are not interested in your welfare; I suppose you know that. They're interested in only one thing: the survival of the city.'
'Drake was the young spatial engineer he employed to terraform the little rock...'
'It diverts integers of the data, the fundamental message-units, so that they no longer agree.'
'Clothes are no longer made from dead fibers of fixed color and texture that can approximate only crudely to the vagrant human figure...'
'Books were just a commodity that had to be produced, like jam or bootlaces.'
