How centuries of sci-fi sparked spaceflight | Alex MacDonald

51,078 views ・ 2019-04-18

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I want to tell you a story about stories.
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And I want to tell you this story because I think we need to remember
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that sometimes the stories we tell each other
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are more than just tales or entertainment or narratives.
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They're also vehicles
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for sowing inspiration and ideas across our societies
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and across time.
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The story I'm about to tell you
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is about how one of the most advanced technological achievements
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of the modern era
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has its roots in stories,
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and how some of the most important transformations yet to come might also.
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The story begins over 300 years ago,
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when Galileo Galilei first learned of the recent Dutch invention
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that took two pieces of shaped glass and put them in a long tube
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and thereby extended human sight farther than ever before.
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When Galileo turned his new telescope to the heavens
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and to the Moon in particular,
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he discovered something incredible.
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These are pages from Galileo's book "Sidereus Nuncius," published in 1610.
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And in them, he revealed to the world what he had discovered.
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And what he discovered was that the Moon was not just a celestial object
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wandering across the night sky,
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but rather, it was a world,
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a world with high, sunlit mountains
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and dark "mare," the Latin word for seas.
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And once this new world and the Moon had been discovered,
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people immediately began to think about how to travel there.
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And just as importantly,
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they began to write stories
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about how that might happen
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and what those voyages might be like.
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One of the first people to do so was actually the Bishop of Hereford,
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a man named Francis Godwin.
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Godwin wrote a story about a Spanish explorer,
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Domingo Gonsales,
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who ended up marooned on the island of St. Helena
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in the middle of the Atlantic,
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and there, in an effort to get home,
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developed a machine, an invention,
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to harness the power of the local wild geese
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to allow him to fly --
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and eventually to embark on a voyage to the Moon.
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Godwin's book, "The Man in the Moone, or a Discourse of a Voyage Thither,"
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was only published posthumously and anonymously in 1638,
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likely on account of the number of controversial ideas that it contained,
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including an endorsement of the Copernican view of the universe
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that put the Sun at the center of the Solar System,
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as well as a pre-Newtonian concept of gravity
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that had the idea that the weight of an object
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would decrease with increasing distance from Earth.
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And that's to say nothing of his idea of a goose machine
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that could go to the Moon.
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(Laughter)
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And while this idea of a voyage to the Moon by goose machine
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might not seem particularly insightful or technically creative to us today,
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what's important is that Godwin described getting to the Moon not by a dream
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or by magic, as Johannes Kepler had written about,
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but rather, through human invention.
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And it was this idea that we could build machines
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that could travel into the heavens,
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that would plant its seed in minds across the generations.
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The idea was next taken up by his contemporary, John Wilkins,
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then just a young student at Oxford,
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but later, one of the founders of the Royal Society.
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John Wilkins took the idea of space travel in Godwin's text seriously
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and wrote not just another story
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but a nonfiction philosophical treatise,
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entitled, "Discovery of the New World in the Moon,
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or, a Discourse Tending to Prove
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that 'tis Probable There May Be Another Habitable World in that Planet."
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And note, by the way, that word "habitable."
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That idea in itself would have been a powerful incentive
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for people thinking about how to build machines that could go there.
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In his books, Wilkins seriously considered a number of technical methods
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for spaceflight,
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and it remains to this day the earliest known nonfiction account
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of how we might travel to the Moon.
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Other stories would soon follow, most notably by Cyrano de Bergerac,
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with his "Lunar Tales."
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By the mid-17th century, the idea of people building machines
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that could travel to the heavens
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was growing in complexity and technical nuance.
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And yet, in the late 17th century,
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this intellectual progress effectively ceased.
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People still told stories about getting to the Moon,
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but they relied on the old ideas
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or, once again, on dreams or on magic.
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Why?
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Well, because the discovery of the laws of gravity by Newton
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and the invention of the vacuum pump by Robert Hooke and Robert Boyle
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meant that people now understood
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that a condition of vacuum existed between the planets,
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and consequentially between the Earth and the Moon.
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And they had no way of overcoming this,
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no way of thinking about overcoming this.
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And so, for well over a century,
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the idea of a voyage to the Moon made very little intellectual progress
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until the rise of the Industrial Revolution
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and the development of steam engines and boilers
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and most importantly, pressure vessels.
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And these gave people the tools to think about how they could build a capsule
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that could resist the vacuum of space.
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So it was in this context, in 1835,
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that the next great story of spaceflight was written,
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by Edgar Allan Poe.
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Now, today we think of Poe in terms of gothic poems
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and telltale hearts and ravens.
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But he considered himself a technical thinker.
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He grew up in Baltimore,
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the first American city with gas street lighting,
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and he was fascinated by the technological revolution
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that he saw going on all around him.
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He considered his own greatest work not to be one of his gothic tales
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but rather his epic prose poem "Eureka,"
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in which he expounded his own personal view
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of the cosmographical nature of the universe.
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In his stories, he would describe in fantastical technical detail
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machines and contraptions,
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and nowhere was he more influential in this than in his short story,
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"The Unparalleled Adventure of One Hans Pfaall."
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It's a story of an unemployed bellows maker in Rotterdam,
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who, depressed and tired of life -- this is Poe, after all --
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and deeply in debt,
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he decides to build a hermetically enclosed balloon-borne carriage
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that is launched into the air by dynamite
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and from there, floats through the vacuum of space
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all the way to the lunar surface.
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And importantly, he did not develop this story alone,
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for in the appendix to his tale,
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he explicitly acknowledged Godwin's "A Man in the Moone"
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from over 200 years earlier
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as an influence,
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calling it "a singular and somewhat ingenious little book."
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And although this idea of a balloon-borne voyage to the Moon may seem
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not much more technically sophisticated than the goose machine,
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in fact, Poe was sufficiently detailed
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in the description of the construction of the device
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and in terms of the orbital dynamics of the voyage
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that it could be diagrammed in the very first spaceflight encyclopedia
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as a mission in the 1920s.
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And it was this attention to detail, or to "verisimilitude," as he called it,
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that would influence the next great story:
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Jules Verne's "From the Earth to the Moon," written in 1865.
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And it's a story that has a remarkable legacy
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and a remarkable similarity to the real voyages to the Moon
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that would take place over a hundred years later.
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Because in the story, the first voyage to the Moon takes place from Florida,
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with three people on board,
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in a trip that takes three days --
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exactly the parameters that would prevail during the Apollo program itself.
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And in an explicit tribute to Poe's influence on him,
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Verne situated the group responsible for this feat in the book in Baltimore,
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at the Baltimore Gun Club,
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with its members shouting, "Cheers for Edgar Poe!"
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as they began to lay out their plans for their conquest of the Moon.
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And just as Verne was influenced by Poe,
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so, too, would Verne's own story go on to influence and inspire
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the first generation of rocket scientists.
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The two great pioneers of liquid fuel rocketry in Russia and in Germany,
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Konstantin Tsiolkovsky and Hermann Oberth,
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both traced their own commitment to the field of spaceflight
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to their reading "From the Earth to the Moon" as teenagers,
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and then subsequently committing themselves
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to trying to make that story a reality.
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And Verne's story was not the only one in the 19th century
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with a long arm of influence.
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On the other side of the Atlantic,
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H.G. Wells's "War of the Worlds" directly inspired
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a young man in Massachusetts, Robert Goddard.
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And it was after reading "War of the Worlds"
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that Goddard wrote in his diary,
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one day in the late 1890s,
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of resting while trimming a cherry tree on his family's farm
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and having a vision of a spacecraft taking off from the valley below
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and ascending into the heavens.
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And he decided then and there that he would commit the rest of his life
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to the development of the spacecraft that he saw in his mind's eye.
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And he did exactly that.
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Throughout his career, he would celebrate that day
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as his anniversary day, his cherry tree day,
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and he would regularly read and reread the works of Verne and of Wells
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in order to renew his inspiration and his commitment
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over the decades of labor and effort that would be required
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to realize the first part of his dream:
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the flight of a liquid fuel rocket,
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which he finally achieved in 1926.
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So it was while reading "From the Earth to the Moon" and "The War of the Worlds"
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that the first pioneers of astronautics were inspired to dedicate their lives
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to solving the problems of spaceflight.
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And it was their treatises and their works in turn
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that inspired the first technical communities
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and the first projects of spaceflight,
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thus creating a direct chain of influence
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that goes from Godwin to Poe to Verne
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to the Apollo program
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and to the present-day communities of spaceflight.
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So why I have told you all this?
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Is it just because I think it's cool,
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or because I'm just weirdly fascinated by stories
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of 17th- and 19th-century science fiction?
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It is, admittedly, partly that.
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But I also think that these stories remind us
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of the cultural processes driving spaceflight
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and even technological innovation more broadly.
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As an economist working at NASA,
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I spend time thinking about the economic origins
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of our movement out into the cosmos.
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And when you look before the investments of billionaire tech entrepreneurs
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and before the Cold War Space Race,
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and even before the military investments in liquid fuel rocketry,
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the economic origins of spaceflight are found in stories and in ideas.
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It was in these stories that the first concepts for spaceflight were articulated.
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And it was through these stories
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that the narrative of a future for humanity in space
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began to propagate from mind to mind,
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eventually creating an intergenerational intellectual community
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that would iterate on the ideas for spacecraft
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until such a time as they could finally be built.
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This process has now been going on for over 300 years,
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and the result is a culture of spaceflight.
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It's a culture that involves thousands of people
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over hundreds of years.
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Because for hundreds of years, some of us have looked at the stars
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and longed to go.
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And because for hundreds of years,
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some of us have dedicated our labors
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to the development of the concepts and systems
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required to make those voyages possible.
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I also wanted to tell you about Godwin, Poe and Verne
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because I think their stories also tell us of the importance
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of the stories that we tell each other about the future more generally.
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Because these stories don't just transmit information or ideas.
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They can also nurture passions,
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passions that can lead us to dedicate our lives
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to the realization of important projects.
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Which means that these stories can and do
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influence social and technological forces
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centuries into the future.
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I think we need to realize this and remember it when we tell our stories.
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We need to work hard to write stories
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that don't just show us the possible dystopian paths we may take
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for a fear that the more dystopian stories we tell each other,
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the more we plant seeds for possible dystopian futures.
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Instead we need to tell stories that plant the seeds,
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if not necessarily for utopias,
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then at least for great new projects of technological, societal
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and institutional transformation.
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And if we think of this idea that the stories we tell each other
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can transform the future
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is fanciful or impossible,
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then I think we need to remember the example of this,
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our voyage to the Moon,
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an idea from the 17th century
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that propagated culturally for over 300 years
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until it could finally be realized.
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So, we need to write new stories,
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stories that, 300 years in the future,
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people will be able to look back upon and remark
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how they inspired us to new heights and to new shores,
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how they showed us new paths and new possibilities,
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and how they shaped our world for the better.
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Thank you.
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(Applause)
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