Category Archives: science fiction

Quantum steampunk?

[“Steampunk Quantum Engine” downloaded from https://thequantuminsider.com/2025/03/15/quantum-goes-steampunk-umd-physicist-helps-sculpt-quantum-mechanics-into-reality/ on March 17, 2026]

I eventually came across the example of quantum steampunk art/science work you see in the above after seeing this notice in a November 20, 2026 newsletter from Canada’s Perimeter Institute for Theoretical Physics (PI; received via email),

Quantum steampunk: we explore the art and science

Explore the art of steampunk and how it is influenced by the technology of the 19th century.


Listen to the Podcast here

Here’s more about the artist responsible for the quantum steampunk engine depicted and the podcast mentioned in the above, from Hamish Johnston’s October 30, 2025 podcast “Quantum steampunk: we explore the art and science” for Physics World, Note: Links have been removed,

Earlier this year I met the Massachusetts-based steampunk artist Bruce Rosenbaum at the Global Physics Summit of the American Physical Society. He was exhibiting a beautiful sculpture of a “quantum engine” that was created in collaboration with physicists including NIST’s [US National Institute of Standards and Technology] Nicole Yunger Halpern – who pioneered the scientific field of quantum steampunk.

I was so taken by the art and science of quantum steampunk that I promised Rosenbaum that I would chat with him and Yunger Halpern on the podcast – and here is that conversation. We begin by exploring the art of steampunk and how it is influenced by the technology of the 19th century. Then, we look at the physics of quantum steampunk, a field that weds modern concepts of quantum information with thermodynamics – which itself is a scientific triumph of the 19th century.

Nicole Yunger Halpern, the physicist who pioneered quantum steampunk, wrote a May 1, 2020 article for Scientific American,

Quantum Steampunk: 19th-Century Science Meets Technology of Today

Just as fictional steampunk unites Victorian style with sci-fi tech, a new branch of physics is updating thermodynamics for modern quantum systems 

London, at an hour that made Rosalind glad she’d nicked her brother’s black cloak instead of wearing her scarlet one. The factory alongside her had quit belching smoke for the night, but it would start again soon. A noise caused her to draw back against the brick wall. Glancing up, she gasped. An oblong hulk was drifting across the sky. The darkness obscured the details, but she didn’t need to see; a brass-colored lock would be painted across the side. Mellator had launched his dirigible.

Welcome to steampunk. This genre has expanded across literature, art and film over the past several decades. Its stories tend to take place near nascent factories and in grimy cities, in Industrial Age England and the Wild West—in real-life settings where technologies were burgeoning. Yet steampunk characters extend these inventions into futuristic technologies, including automata and time machines. The juxtaposition of old and new creates an atmosphere of romanticism and adventure. Little wonder that steampunk fans buy top hats and petticoats, adorn themselves in brass and glass, and flock to steampunk conventions.

These fans dream the adventure. But physicists today who work at the intersection of three fields—quantum physics, information theory and thermodynamics—live it. Just as steampunk blends science-fiction technology with Victorian style, a modern field of physics that I call “quantum steampunk” unites 21st-century technology with 19th-century scientific principles.

Our goal is to update the laws of thermodynamics—the study of work, heat and efficiency—to meet the demands of cutting-edge experiments, technologies and theory. Thermodynamics was born when steam engines drove the Industrial Revolution. But as technology shrinks, thermodynamics and information couple in smaller and smaller systems. The spotlight has swept from trains to nanoscale engines, living cells’ molecular motors and the smallest possible refrigerators. We must now investigate how to apply traditional thermodynamic concepts such as heat, work and equilibration to modern quantum systems.

Victorian physics meets millennial science

By 1800 Thomas Savery and Thomas Newcomen had invented, and James Watt and Matthew Boulton had refined, the steam engine. Thinkers then wondered how efficiently such engines could pump water out of mines. Their studies grew from practicalities to questions of fundamental physics, such as why time flows only in one direction. The field of thermodynamics is grounded in this work.

This branch of physics describes many-particle systems, such as steam, in terms of large-scale properties, such as temperature, pressure, volume and energy. Energy in transit falls into two classes, work and heat. Work is well-organized energy usable for a purpose, like turning a mill wheel. Heat is the energy of random motion—of particles jiggling.

Thermodynamicists quantify randomness with a number called entropy. Every particle in a canister of steam has a position and a momentum (the particle’s mass times its velocity). The set of all the particles’ positions and momenta we call the steam’s microstate. We cannot know the microstate, because the canister contains about 1024 (1 followed by 24 zeroes) particles. Imagine trying to locate them all! Instead we track the probability that the steam occupies this or that microstate. Entropy quantifies our uncertainty. According to the second law of thermodynamics, the entropy of a closed, isolated system cannot shrink. This fact underlies the reality that time flows in a single direction.

But the steam engines central to traditional thermodynamics resemble today’s technologies about as much as top hats resemble virtual-reality headsets. Many modern inventions and experiments involve small, complex quantum systems. Quantum theory is the physics of atoms, electrons and other constituents of matter. They can behave in ways impossible for larger, classical systems, such as steam canisters, factories and people. For instance, quantum particles can share entanglement, a type of ultrastrong correlation. If you entangle two atoms and measure one, the other atom changes instantaneously, even if it is across a continent. Physicists can use entanglement to process information in ways impossible with classical systems. The study of how we can solve computational problems, communicate, secure information and enhance measurements with quantum systems is called quantum information theory. This theory is a useful mathematical tool kit for implementing our update to thermodynamics. How do the two fields connect? To reason about information, we have to confront ignorance. Information theorists quantify ignorance with entropy, just as thermodynamicists do.

Quantum computers, for instance, are systems where both quantum information theory and thermodynamics are key. Google, IBM and other institutions are hard at work building such machines, which aim to break certain encryption schemes and to model certain materials far more quickly than any classical computer. Most quantum-computing systems need to be cooled to a temperature near absolute zero. Cooling amounts to dissipating heat, a thermodynamic quantity. Yet quantum computers look nothing like the engines for which thermodynamics was developed.

Efforts to apply thermodynamic concepts to quantum settings date to the mid-20th century, when Joseph Geusic, E. O. Schulz-DuBois and H. E. Derrick Scovil proposed the first quantum engine.It was made from a maser, which operates like a laser but releases microwave light. Later, Ronnie Kosloff of Hebrew University of Jerusalem and his colleagues helped to turn quantum engines into their own subfield. Another pioneer is Marlan Scully, sometimes called the “quantum cowboy,” who works on quantum optics at Princeton University and Texas A&M University and also raises cattle. Meanwhile theorists Gian Paolo Beretta, the late Elias Gyftopoulos and the late George Hatsopoulos studied the arrow of time from a quantum perspective. And a seminal publication was Seth Lloyd’s 1988 Ph.D. thesis at the Rockefeller University, “Black Holes, Demons, and the Loss of Coherence: How Complex Systems Get Information, and What They Do with It,” which established many important ideas for the field of quantum thermodynamics.

Quantum Steampunk Tools

Yunger Halpern’s May 1, 2020 article offers some intriguing insights. 2020 is also the year Yunger-Halpern was approached by a ‘steampunk’ artist according to a March 12, 2025 article by Resonance for the Quantum Insider, Note: Links have been removed,

Insider Brief

  • Physicist Nicole Yunger Halpern and artist Bruce Rosenbaum collaborated to create a steampunk-inspired sculpture that visually represents quantum thermodynamics.
  • The eight-inch metallic sculpture, designed with input from scientists and artists, illustrates a quantum engine that converts random microscopic motion into useful energy.
  • Debuting at the American Physical Society’s Global Physics Summit in 2025, the piece is planned as a precursor to a larger, interactive version blending antique aesthetics with modern technology.

In 2020, physicist Nicole Yunger Halpern received a rather unusual email out of the blue. Bruce Rosenbaum, a Massachusetts-based artist dubbed “the steampunk guru” by The Wall Street Journal, watched one of her lectures about quantum thermodynamics and was interested in collaborating with her. Rosenbaum saw something extraordinary in Yunger Halpern’s work—in terms of cutting-edge science and artistic possibility. 

For Yunger Halpern, who coined the term “quantum steampunk” while earning her Ph.D. in theoretical physics at the California Institute of Technology, it almost felt like scientific serendipity. 

“It’s been a privilege to interact with someone who is based in such a different world. I’m in physics, Bruce is in art. And yet, we both have a very strong shared interest in connecting the steam-powered world of the Industrial Revolution to today,” said Yunger Halpern, who is a theoretical physicist at the National Institute of Standards and Technology, a fellow of the Joint Center for Quantum Information and Computer Science, and an adjunct assistant professor in the Department of Physics and the Institute for Physical Science and Technology at the University of Maryland.

The unusual partnership kicked off a multi-year quest to craft a piece of art that could represent two very different worlds. For weeks, Yunger Halpern and Rosenbaum worked over weekend Zooms and emails to brainstorm before enlisting others to help bring their ideas to life. 

In late 2024, they finally created their masterpiece: an eight-inch diameter sculpture that marries steampunk (a popular genre that combines Victorian-era aesthetics like brass, gears and steam with modern technology) with quantum physics (a rapidly evolving field that deals with how things work at the tiniest possible scales). At these tiny levels, objects don’t behave the same way as they do in our everyday world—for example, things can exist in multiple states at once, like a coin that, in some ways, behaves as though it were both heads-up and tails-up simultaneously.

Inspired by these strange behaviors present in quantum physics, Yunger Halpern and Rosenbaum focused their project on the concept of quantum engines, devices that convert energy from one form to another. According to Yunger Halpern, even a single atom can function as an engine, transforming random microscopic motion into useful energy. 

“Our sculpture depicts an engine that can operate at the atomic scale to convert heat energy— which is random, the energy of particles always jiggling around—into useful work. Work is coordinated energy, the kind that charges our computers and powers our factories,” Yunger Halpern explained. “Like the steam-powered tech of the Victorian era, this engine relies on thermodynamic properties to make its conversion. We wanted to bring those two themes from very different periods of history together.”

Linking quantum and art for all

Creating this visual representation of the invisible quantum world required an unusual team with varied skills. Rosenbaum brought in illustrator Jim Su for the initial designs and design engineering company Empire Group fabricated the sculpture. Rosenbaum and Yunger Halpern coordinated a careful balance between artistic vision and scientific accuracy at every stage of the project. Gradually, the team grew to include other UMD faculty and staff members, including Distinguished University Professors Christopher Jarzynski and William Phillips, Senior Faculty Specialist Daniel Serrano and Scientific Development Officer Alfredo Nava-Tudela. The UMD Quantum Startup Foundry and Caltech’s [California Institute of Technology[ Institute for Quantum Information and Matter also pitched in.

The result was a metallic, partially 3D-printed sculpture measuring eight inches in diameter, an eclectic mashup of both quantum science principles and artistic sensibilities. 

You can find out more at the Quantum Steampunk Engine (or Captain Okoli’s Magnificent Steampunk Quantum Engine)website and there;s Yunger Halpern’s 2022 book from John Hopkins’ University Press, Quantum Steampunk; The Physics of Yesterday’s Tomorrow.

May 14, 2026: CliFi author Nalo Hopkinson event (North Vancouver, Canada) & May 20, 2026 online panel: Security, Sovereignty, and Prosperity: Industry Perspectives on Canada’s New Defence Industrial Strategy

Two events:

Nalo Hopkinson, author Courtesy: Polygon Gallery

Nalo Hopkinson at North Vancouver’s Polygon Gallery on May 14, 2026

For anyone who doesn’t know, CliFi is climate fiction. Now, onto the event, from a May 13, 2026 notice received via email) from the Polygon Gallery,

Taking it Back: Reclaiming What Was Stolen with Nalo Hopkinson

Thursday, May 14 [2026]

An intimate evening with a recipient of the Sunburst Award for Excellence in Canadian Literature of the Fantastic.

There’s more on the Polygon’s event and RSVP page,

HAPPENING May 14, 2026 at 7:00 PM TO  8:30 PM

Taking It Back: Reclaiming What Was Stolen With Nalo Hopkinson

Join us for an intimate evening with Jamaican-born author Nalo Hopkinson, recipient of the Sunburst Award for Excellence in Canadian Literature of the Fantastic for her novel Blackheart Man. Hopkinson thinks a lot about how rising ocean levels impact her region. She will present two climate fiction stories, ranging from science-based to the disquieting monologue narrated by a guide leading a tour of a recently submerged island.

Presented in partnership with UBC [University of British Columbia] Global History of Anticolonial Thought.

Doors at 6:30pm
Reading at 7:00pm
Q&A at 8:00pm

About the Author
Nalo Hopkinson, born in Jamaica, moved to Canada in 1977. She was the 1997 recipient of the Warner Aspect First Novel Contest for Brown Girl in the Ring. She has published seven novels, numerous short stories, and comics scripts in DC’s “Sandman” universe. She has received the Ontario Arts Council Foundation Award, the John W. Campbell and Locus Awards, the World Fantasy Award, Canada’s Aurora Award, the Sunburst Award for Canadian Literature of the Fantastic, and the Octavia E. Butler Memorial Award. In 2020, Science Fiction Writers of America made her its 37th Damon Knight Memorial “Grand Master,” a lifetime achievement award in recognition of her writing, teaching, and mentorship. She is a professor in the School of Creative Writing at the University of British Columbia. Her most recent publications are Blackheart Man (novel, Simon & Schuster, 2024), and short story collection Jamaica Ginger and Other Concoctions (Tachyon Publications, 2024).

About the Moderator
Ayesha Hameed is an artist and writer. She has two books forthcoming in Autumn 2026: Black Atlantis (Strange Attractor/MIT Press) and Radio Brown Atlantis (CARA, NY). She’s Professor of Artistic Research at University of the Arts Helsinki and teaches on the MFA at Goldsmiths University of London.

For some reason, they won’t let me reproduce the RSVP button. So, you will have to visit the event and RSVP page and click there.

Canadian Science Policy Centre (CSPC) and the Security, Sovereignty, and Prosperity: Industry Perspectives on Canada’s New Defence Industrial Strategy event

Here are the details for an upcoming online panel discussion from a May 13, 2026 Canadian Science Policy Centre (CSPC) notice (received via email),

May 20 [2026]: Security, Sovereignty, and Prosperity: Industry Perspectives on Canada’s New Defence Industrial Strategy

Join us for a panel on how Canada’s participation in the Square Kilometre Array Observatory can s [sic; a leftover from a previous notice?]

Join us on May 20, 2026, from 12:00–1:30 PM EST for a panel discussion on Canada’s recently released Defence Industrial Strategy (DIS), which marks a significant shift at the intersection of national security and industrial policy. Central to the strategy is the “Joint Innovation” model, calling for sustained collaboration between the federal government and the private sector to build sovereign capabilities. This high-level panel will bring together leaders from Canada’s mining, advanced manufacturing, and technology sectors to explore how the DIS aligns with industry-specific challenges—from critical mineral supply chains to dual-use technologies such as AI and quantum—and to discuss its potential to drive industrial growth, the barriers to effective collaboration, and its long-term impact on Canada’s innovation ecosystem and global competitiveness.

Register (For Free)

There’s more detail on the event page,

Details

Venue

  • Zoom

Panellists will explore how the strategy’s goals align with the unique challenges of their respective industries, from critical mineral supply chains to dual-use technology development in AI and Quantum. The discussion will focus on how the DIS can serve as a catalyst for industrial growth, the hurdles to achieving seamless “Joint Innovation,” and the long-term impact of this strategy on Canada’s broader innovation ecosystem and global competitiveness.

Charlotte Duval-Lantoine – Moderator

Vice-President, Ottawa Operations & Fellow, Canadian Global Affairs Institute

Jayson Myers

Chief Executive Officer of Next Generation Manufacturing Canada

Photinie Koutsavlis

Vice President, Economic Affairs and Climate Change, Mining Association of Canada

Daniel Perry

Director of Federal Affairs at the Council of Canadian Innovators

Mike Mueller 

President and CEO, Aerospace Industries Association of Canada 

This seems like a pretty hectic spring where science events are concerned; I expect things will slow down as summer arrives.

Science community celebrates Project Hail Mary (movie) for its ‘hard science’

Project Hail Mary (movie) opened today, March 20, 2026 and it has caused a stir in the science community. Concurrently, the Artemis II rocket has begun its slow journey to the launch pad in preparation for its April 1, 2026 launch, from a March 20, 2026 Canadian Press news item on CTV news,

NASA says rollout operations at the Kennedy Space Center in Florida began early Friday after being briefly delayed by high winds.

Officials say the trek to the pad is expected to take up to 12 hours.

The mission has been delayed a few times since February due to hydrogen fuel leaks and helium flow problems, but is scheduled to launch April 1.

You can find out more about the Artemis II mission here on the US National Aeronautics and Space Administration (NASA) website. Meanwhile, Jennifer M. Dooren’s March 20, 2026 article on the NASA website brings movie and Artemis II together, Note: Links have been removed,

Real-life space exploration and big-screen science fiction will converge on Friday. As NASA prepares to launch Artemis II, the first crewed mission under the agency’s Artemis program and another step toward sending the first astronauts – Americans – to Mars, the fictional film “Project Hail Mary” premiere will take audiences on a journey into deep space.

The agency provided guidance throughout filming, and also is participating in activities related to the release of the film to connect the agency’s missions, innovations, and discoveries to the public through pop culture.

“Space exploration captures the public’s imagination, and collaboration between science and storytelling brings that sense of discovery to a wider audience,” said Will Boyington, associate administrator for the Office of Communications at NASA Headquarters in Washington. “Inspiring the next generation, whether through rocket launches or sci-fi movies, helps build the talent and support that underpin American leadership in space.”

NASA’s communications personnel provided informal consultation about human spaceflight and science during the making of the movie, and experts from the agency in astrobiology and astrophysics, which are major themes in “Project Hail Mary,” answered questions about these topics during the making of the film. Agency advisors are listed in the credits.

On the movie set, the agency provided an in-person consultation between NASA astronaut Kjell Lindgren and actor Ryan Gosling, who plays an astronaut in the movie. NASA also facilitated brand use guidance and clearance for the agency’s “meatball” and “worm” logos featured in the film. 

NASA’s activities related to the movie even reached beyond Earth. In between conducting research and demonstrating new technologies, Expedition 74 crew members living and working aboard the International Space Station, including NASA astronauts Chris Williams, Jessica Meir, and Jack Hathaway, screened “Project Hail Mary” while in orbit.

Artemis II crew members, NASA astronauts Reid Wiseman, Victor Glover, and Christina Koch, and CSA (Canadian Space Agency) astronaut Jeremy Hansen, who will help make what once was science fiction a reality through their upcoming deep space launch, are expected to have an opportunity to view “Project Hail Mary” while in quarantine. They are preparing to explore more of the Moon for scientific discovery, economic benefits, and to build on our foundation for the first crewed missions to Mars.

Sara Webb (Course Director, Centre for Astrophysics and Supercomputing at Swinburne University of Technology in Australia) wrote a March 18, 2026 essay “Project Hail Mary is packed with hard science. An astrophysicist breaks it down” that focuses on what the filmmakers got right and notes some of the areas where fiction held sway, Note: Links have been removed,

As an astrophysicist, my world revolves around the wonders of space and the mysteries of the universe. This means I can be a tough critic of science fiction books and films that explore these topics.

But when I walked out of a recent preview screening of the film adaptation of Andy Weir’s 2021 science fiction novel Project Hail Mary, I had tears of joy in my eyes. The filmmakers had done justice not just to the original story, but also to the science at the heart of it.

The story revolves around Ryland Grace, played by Ryan Gosling, who awakes from a coma with no memory and no idea why he’s on a space ship 11.9 light years away from Earth. As his memories slowly start to return, the truth becomes clear. The Sun is dying, and he is our only saving grace.

A dying sun

In Project Hail Mary the Sun is dying due to an alien organism that has spread around our part of the Milky Way.

Firstly, could an organism spread from one solar system to another? According to some scientists, yes. It’s a theory called panspermia.

We have no hard evidence to prove it right now. But the theory isn’t completely wild. We know material from solar systems can be transported great distances – we ourselves have witnessed as least three interstellar visitors enter and fly through our Solar System.

If life forms could survive the harshness of space and live on such rocky bodies, it’s possible this is how life could spread. But that life would likely be basic organisms.

As for the organism at the centre of this movie, astrophage, its mechanics and behaviour sit rightly in the wonderful world of science fiction [emphasis mine].

The size of space

The idea of humans travelling between stars feels like an almost impossible challenge.

In our galaxy alone there are more than 400 billion stars, but only roughly 100 of them are within 20 light years of Earth.

Project Hail Mary focuses it’s attention on one of those systems, known as Tau Ceti, sitting 11.9 light years away.

If we were to travel to this star with the fastest spacecraft humans have ever flown in, the Apollo 10 module, travelling at more than 39,900 kilometres per hour, it would take us 320,000 years. In a story where the Sun is dying now, there is no time for that. So how does Project Hail Mary overcome this problem?

Enter special relativity.

Special relativity is one of the most paradigm-shifting theories of modern history. Developed by Albert Einstein in 1905, it equated mass and energy as one and the same. It best known by the famous E = mc2 formula.

What Einstein was able to work our mathematically, and we’ve later proved observationally, is that the closer to the speed of light something travels, the slower the time it experiences in its reference frame.

It’s called a Lorentz transformation – and it allows us to determine the time experienced in a reference frame different to our own, say travelling close to the speed of light.

The movie doesn’t give a full physics lesson on this, but rather uses visual cues, including correct mathematics worked out by Grace on a whiteboard to demonstrate this time change.

What Grace determines is that he’s only been in a coma for four years due to the effects of time dilation on a ship travelling that fast. Which is scientifically spot on.

We have to talk about the aliens

As you can see Webb’s March 18, 2026 essay is engaging and accessible to those of us who don’t have physics degrees.

Both Science magazine and Nature magazine have Project Hail Mary articles.Perri Thaler’s March 19, 2026 article for Science magazine presents a Q&A (question and answer) with Wendy Freedman, University of Chicago astronomer who studies the evolution of the universe,

Q: How scientifically accurate is the movie?

A: What really struck me was how well it represented how science is done and how a scientist approaches problems. You have a leading actor, Ryan Gosling, playing an actual scientist, not an evil man with a white lab coat. He’s a human being. He’s thoughtful and he’s confronted with real challenges that he has to solve. He collaborates, and science is a very collaborative enterprise, so I really like the way science was portrayed in the movie. Lots of speculative ideas, but also lots of real science and a real approach to science.

Q: If you were Ryland Grace, would you approach the problem differently?

A: He approaches things very thoughtfully, methodically. Here’s an idea, a hypothesis, and let’s test it. If it doesn’t work out, well, what went wrong? What else can we do? In terms of basic approach, I’d be very similar, I think.

Q: Was there a specific concept that you noticed in a scene that made you nerd out because the filmmakers got it right or got it wrong?

A:  I love that relativity was part of the plot, and that the equipment he had for trying to understand the basis of the life form was a very realistic portrayal of science. The microbiology, chemistry, physics, and astrophysics were all great.

Q: How do you feel about the idea of non–water-based life?

I was able to access Thaler’s March 19, 2026 article but it was one of those ‘you have x articles for free’ deals.

Alexandra Witze’s March 19, 2026 article for Nature magazine includes insights from a scientist who consulted on the film, Note: Links have been removed,

The film Project Hail Mary — which opens widely on Friday — has one of the best opening scenes on the silver screen in recent years. A man wakes up, disoriented and with a fuzzy memory, next to two dead bodies. We find out that he’s a scientist-turned-astronaut on a spaceship headed for a star beyond our Solar System, and those dead bodies are his crewmates. He’s all alone, and it’s now up to him to save life on Earth.

The gripping sci-fi plot comes from the mind of Andy Weir, the author of the 2021 book [Project Hail Mary] of the same name. Weir has become known for stories like this, in which quick-witted loners have to ‘science’ the heck out of situations to save the day. He made his career with the 2011 book The Martian, in which protagonist Mark Watney (played by Matt Damon in the film version) survives being stranded on Mars by, among other things, learning to grow potatoes in the red planet’s soil.

Weir famously steeps his books in science, going so far as to do calculations on orbital mechanics and stellar astrophysics to ensure that the stories are as realistic as they can be while still being fiction. That all-out nerdery has earned him many fans, says Andy Howell, an astronomer at the University of California, Santa Barbara, who advised Weir on the science in Project Hail Mary. “I’ve talked to so many scientists who are like, ‘this is great’”, Howell says, but also engineers, physics students and others.

Realistic fiction

Without giving away too much of the plot, Project Hail Mary is about a man, Ryland Grace (played by Ryan Gosling), who embarks on interstellar travel to understand why the Sun is dying. Like Watney in The Martian, he has to summon knowledge from a raft of different types of science — molecular biology, neutrino physics and more — to solve his crisis.

“It’s a great blend of some ideas that have been around, but a fresh take on them — and then some completely new ideas,” says Howell, who also runs a YouTube channel called Science vs. Cinema.

Take astrophage, a fictional space microorganism that underpins much of the plot. Weir conceived of it as ‘black matter’ that can absorb huge amounts of stellar radiation and then re-emit the energy to enable interstellar travel. Astrophage doesn’t exist in our world, but Weir made sure it had biology and chemistry that could exist in the Galaxy.

In the film, Grace grapples with the nature of astrophage, which is devouring the Sun, and how it does or doesn’t meet scientists’ notions of extraterrestrial life. It’s reminiscent of debates over how to recognize the signatures of life beyond Earth — for instance, gases in planets’ atmospheres that might have been generated by living organisms.

Building worlds

How astronomers in the film (and book) discover that the Sun is dimming is also grounded in reality. On Howell’s advice, Project Hail Mary gives a shout-out to the amateur astronomers who regularly monitor fluctuations in stars’ brightnesses. In 2019, astronomy enthusiasts spotted the mysterious dimming of the red-giant star Betelgeuse; fortunately, it turned out to be caused by the star belching dust, rather than an astrophage attack.

In order to access the entire article you will need to login or create an account.

Astrophysicist Jacqueline McCleary presents a (slightly) more skeptical approach to the science while retaining enthusiasm for the film in Cody Mello-Klein’s March 19, 2026 article for Northeastern (University) News.

Josh Weiss’ March 20, 2026 article (‘Project Hail Mary’ Author Andy Weir On Changes From Book, That [SPOILER] Cameo, And What He’s Writing Next) for Forbes magazine (which I found on Yahoo! News), focuses on some of the filmmaking choices, as well as, the science and the author’s future plans.

One small fun fact (for those who live in British Columbia). From a University of British Columbia May 26, 2023 – July 26, 2023 online book club notice

An astronaut awakens to find he’s the only survivor on a small spaceship that’s light years away from any humans. Unfortunately, he can’t remember a thing, including his assignment. Yet if he fails, the Earth and humanity are doomed. A story of survival, Project Hail Mary by author Andy Weir is an enthralling thriller replete with science and speculation — and even a UBC character in the mix [emphasis mine].

Enjoy the movie!

Author Cixin Liu on why Chinese sci-fi (science fiction) like Netflix’s 3 Body Problem is booming

Yesterday (March 11, 2026) I published a post about a new project being funded by the European Research Council (ERC) titled, SINOFANTASY – Studying Imaginative Otherworlds: Chinese Fantasy Fiction, Literary Politics, and Media Creativity.

Today (March 12, 2026) I have a story about Chinese science fiction from the Canadian Broadcasting Corporation’s (CBC) radio programme, Ideas by Nicola Luksic, which was published online on September 2, 2025, Note: the radio interview is embedded in the article,

Chinese science fiction is booming, and this makes total sense to globally renowned sci-fi writer Cixin Liu. 

“Science fiction is different from traditional literature in that it can only prosper in the fastest developing, modernizing countries,” said Liu, speaking through a translator from his home in Tianjin — a city about 140km south west of Beijing.

Liu is the author of The Three-Body Problem — a trilogy adapted into a quarter-billion dollar eight-part Netflix series. 

The first installment of Three Body Problem was published in China in 2006, and translated into English in 2014. In 2015 it was the first Chinese book to win the Hugo Award — essentially the Nobel Prize for science fiction. 

Luksic\s September 2, 2025 article features some interesting comments from Liu,

Sci-fi tends to thrive in burgeoning empires [emphasis mine], observes Liu, pointing to the birth of popular sci-fi in 9th-century Britain and the flourishing of American sci-fi in the 1950s and ’60s. 

Now the prosperity of science fiction is happening in China [emphasis mine], which is closely related to China’s rapid modernization,” said Liu. 

“It is impossible for science fiction to prosper in a backward and slow-developing country. The prosperity of science fiction in China should be inseparable from the background of China’s rapid development, and it is this big era that is driving it.”

Liu grew up in the 1960s and witnessed massive social, technological and economic change through the Cultural Revolution to today. 

“The social changes we witnessed from childhood to adulthood were probably the greatest in human history,” he said.

“This is not an exaggeration; the world around us during our childhood and adolescence is totally two worlds, and now Chinese society is still in rapid development, which makes Chinese society full of a very strong futuristic feeling, and this feeling provides a fertile soil for the development of science fiction literature.

“I think this is the most fundamental reason for the popularity of science fiction literature in China.”

I wonder if Liu is hinting at or predicting a ‘Chinese century’ or a ‘Chinese millenium’. Liu’s claims seem a little facey to me but that doesn’t mean he’s wrong.

The September 2, 2025 article delves into the publishing environment in China,

All publications in China are subject to review by the General Administration of Press and Publication before they can be sold on the mass market. It has the authority to censor and ban books deemed to be critical of the government, or books that promote what it sees as western values.

But that does not significantly limit the complexity of social issues and layers of story that can be told through sci-fi, according to PhD student Zichuan Gan. Originally from China’s Fujian province he is pursuing his PhD thesis in comparative literature at the University of Toronto. 

“There is a very hot discussion about how Chinese science fiction is inherently non-binary,” said Gan.

“Non-binary not only in the sense of gender, not just two genders, but also in the way we think about things. Instead of putting things into black and white categories like male or female, human or machines, west or east, Chinese science-fiction often shows that reality and life are more mixed and complicated.”

,,,

… he also points to the moral complexity of the main characters in The Three-Body Problem.

“When Western readers read Chinese science fiction, they very often assume like, ‘oh, this work has some political meaning’, but in many cases it’s not black and white, it is not propaganda, and this non-binary feature is worth discussing.”

Gan is particularly interested in how ethical questions about the promise of technology are introduced, developed and explored in Chinese sci-fi. Having grown up in a part of China that took on a lot of the world’s e-waste over the past two decades, he is wary of what’s called ‘techno-fetishism.’ Something he defines as “a tendency to view technology as something detached from society, something immaterial, something magical.”

“Technology is not neutral,” said Gan. “We often hear that technology is just a tool and the only thing that matters is how we use technology. But in reality, who designs technology and what purpose it serves all shape the final product.”

Here’s one last bit from the September 2, 2025 article and it’s about the history of science fiction in China,

While Chinese sci-fi is flourishing in the 21st century, the genre’s roots in the country go back to the late 1880s and into the early 20th century as the imperial period ended. 

“Everything was in turmoil. The dynasties that had been in place for thousands of years were suddenly crumbling. People didn’t know what to do,” said Ari Heinrich, professor of Chinese literature and media at the Australian National University.

“Science fiction was on the table as a way of introducing technology to build better tools for society,” said Heinrich. “So people were deeply invested in a kind of nationalist way in what kind of technologies were out there and science fiction was a way to imagine what those technologies could be.”

[see article for image] First published in the 1880s, the fantastical illustrated journal Dianshizhai Pictorial, published three times a month out of Shanghai. (Wikimedia/Free Domain)

“It was an illustrated, widely circulated journal, and you can see these pictures in it of bizarre flying machines, like a ship in the sky with wings, but also, you know, a hot air balloon that is clearly based on an actual one,” said Heinrich. 

“So from a very early period people were writing stories that had all kinds of actual technology in it, even if it was tweaked and made weird, but it was still somehow grounded in a desire to improve Chinese capacity. And you could say that’s still going on now.”

If you have time, do check out the September 2, 2025 article and/or the embedded Ideas podcast/radio programme.

I have a few previous posts about Chinese science fiction and Chinese fantasy literature, Note: For those who are unfamiliar with the genres, they are often linked together as a category or in a story,

  • Chen Qiufan, garbage, and Chinese science fiction stories (May 31, 2019 posting)
  • Telling stories about artificial intelligence (AI) and Chinese science fiction; a Nov. 17, 2020 virtual event (November 16, 2020 posting)
  • The science in science fiction television (scroll down to “3 Body Problem (television series)” (June 27, 2024 posting)
  • SINOFANTASY – Studying Imaginative Otherworlds: Chinese Fantasy Fiction, Literary Politics, and Media Creativity (March 11, 2026 posting)

Given how important Korean pop culture has been internationally, it seems surprising that I haven’t stumbled across Korean science fiction/fantasy.

SINOFANTASY – Studying Imaginative Otherworlds: Chinese Fantasy Fiction, Literary Politics, and Media Creativity

A European Research Council (ERC) grant to study SINOFANTASY has been awarded to a University of Freiberg (Germany) researcher. (I’ve seen Chinese science fiction discussed but not Chinese fantasy. Glad to see this as there’s often crossover between the genres.) Here’s more from a September 9, 2025 University of Freiberg press release (also on EurekAlert but published September 10, 2025), Note: Links have been removed,

Sinologist and junior professor Dr. Jessica Imbach from the University of Freiburg has been awarded a Starting Grant by the European Research Council (ERC). With her funded project SINOFANTASY – Studying Imaginative Otherworlds: Chinese Fantasy Fiction, Literary Politics, and Media Creativity, Imbach is investigating the development and significance of Chinese fantasy and science fiction literature since the 1990s. The grant covers five years and amounts to approximately 1.4 million euros.

Fantasy literature as a mirror of social transformation

The project aims to develop a well-founded theory of Chinese fantasy as a mirror and medium of social transformation. “I am investigating, for example, how cultural identity, historical images and visions of the future are negotiated in Chinese fantasy literature. This genre has become one of the most popular forms of entertainment in China,” says Imbach. “Some texts are formally innovative and experimental, creating alternative views of history or speculative forms of society, while others follow conservative narrative patterns. My project therefore asks: What themes, conflicts and worldviews are negotiated in these texts? And what social negotiation processes are reflected in this literary form?”

Digital encyclopaedia on fantasy literature planned

In addition to literary texts, the project explores how speculative storytelling affects concepts such as authorship and digital participation in an authoritarian media system. “The ERC Starting Grant now gives me the opportunity to systematically explore the diverse media, social and political dimensions of Chinese fantasy with a larger team and a long-term perspective,” Imbach emphasises. In addition, a digital encyclopaedia of contemporary Chinese fantasy is to be developed. The project thus not only contributes to literary and Chinese studies, but also makes complex cultural processes accessible to a broad public.

The ERC Starting Grant
The European Research Council (ERC) supports outstanding scientists in carrying out groundbreaking research projects by providing highly competitive funding.ERC Starting Grants are aimed at innovative scientists in the early stages of their scientific careers who have already gained two to seven years of experience after completing their doctorates and would like to establish their own research group. Applications can be submitted from all research areas. Scientists can receive funding of up to 1.5 million euros over a period of five years for their projects.

For more information 

  • Jessica Imbach’s website https://uni-freiburg.de/sinologie/einrichtung-und-personen/junprof-dr-jessica-imbach/
  • Dr. Jessica Imbach received the Margarete von Wrangell funding https://uni-freiburg.de/en/margarete-von-wrangell-fellowship-for-research-on-new-media-in-china/

You can find the project description for “Studying Imaginative Otherworlds: Chinese Fantasy Fiction, Literary Politics, and Media Creativity” here.

As to the popularity of SINOFANTASY, there’s this about Ne Zha 2 from its Wikipedia entry, Note: Links have been removed,

Ne Zha 2 (Chinese: 哪吒之魔童闹海; pinyin: Nézhā zhī Mótóng nào hǎi; also known as 哪吒2; Nézhā èr)[5] is a 2025 Chinese adult animated adventure fantasy action film written and directed by Jiaozi. The direct sequel to Ne Zha (2019),[6] it is based on the Chinese mythological character and Xu Zhonglin’s 16th-century novel Investiture of the Gods (Fengshen Yanyi).[6] The film takes up the story of Chinese mythological character Ne Zha and his friend Ao Bing. After a sacrifice, only Ne Zha’s body can be recreated, although he carries Ao Bing’s spirit within. Ne Zha calls on this spirit in his fight against Master Shen.

Ne Zha 2 was released in theaters across China on 29 January 2025, coinciding with the first day of the Chinese New Year.[7] Like its predecessor, the film received highly positive reviews from critics, and achieved even greater commercial success at a gross of $2.2 billion[8] worldwide against a production budget of US$80 million. Ne Zha 2 broke numerous box office records inside and outside China, including becoming the highest-grossing film in a single box office territory, the highest-grossing animated film, being the first adult animated film in this position, the highest-grossing non-English language film and the first animated film in history to cross the $2 billion mark, as well as being the highest-selling animated film based on ticket sales. It also ranks as the highest-grossing film of 2025 and the fifth-highest-grossing film of all time.[9] [emphasis mine] A sequel is in development.

The highest grossing film of 2025, worldwide! H/t to Lainey Gossip’s March 14, 2025 blog posting by Sarah.

Now,I’ve stumbled across what seems to be an increasing interest in SINOFANTASY (more specifically, science fiction),

  • Chen Qiufan, garbage, and Chinese science fiction stories (May 31, 2019 posting)
  • Telling stories about artificial intelligence (AI) and Chinese science fiction; a Nov. 17, 2020 virtual event (November 16, 2020 posting)
  • The science in science fiction television (scroll down to “3 Body Problem (television series)” (June 27, 2024 posting)

Cum Grano Salis (with a grain of salt): a March 4 – 28, 2026 art/sci exhibition in Toronto, Canada

A February 24, 2026 notice (received via email and available here) from Toronto’s ArtSci Salon announces the opening,

CUM GRANO SALIS

March 4-28, 2026
Red Head Gallery
401 Richmond Street W

Opening Reception March 7, [2026]
2:00-5:00 pm

Stay tuned for other related events
 

Elaine Whittaker
Matthew Borrett, Teri Donovan, Tracy Gorman, Kelley Aitken, Kaz Ogino, Heidi Breier, Kat Honey, Kai Kan, Kim-Lee Kho, Jim Nason.

Cum grano salis (Latin for ‘with a grain of salt’) is an expression of skepticism. In an era saturated with images, data, and competing truths, the potential for exaggeration and distortion is greater than ever. Doubt is integral to how we perceive and interpret the world today. We move continuously between trust and mistrust, truth and fabrication, constantly pausing to reassess what we have just seen, heard, or absorbed.

Cum Grano Salis invites viewers to enter a constellation of speculative worlds in which uncertainty is not an exception but a condition. Across installations, video, and mixed media artworks, Elaine Whittaker both curates and collaborates with ten artists to imagine what forms of life, survival, and coexistence might emerge on a rapidly changing planet. Drawing on depictions of climate change in speculative and science fiction, the artworks unfold through narrative, atmospheric, and embodied experiences [emphasis mine]. The changes are not a distant abstraction but something we now feel, inhabit, and negotiate.

The exhibition is a story of three interwoven galaxies—distinct yet interconnected—fantasy and scientific inquiry converge [emphasis mine]. Viewers move between our Milky Way galaxy and two fantastical ones, encountering altered ecosystems and technologies. Adaptations blur the boundaries between the plausible and the imagined. Dystopian and utopia impulses intersect. This is what Margaret Atwood terms ‘ustopia’— a fragile balance where loss and possibility coexist, shaped by new forms of cooperation.

In placing climate change and planetary changes within speculative and fictional frameworks, Cum Grano Salis opens space for emotional, poetic, and critical engagement. The exhibition encourages viewers to consider how imagination, storytelling, and world-building might help reframe our understanding of environmental instability and change our relationship to our planet.

Find more information or visit the
Red Head Gallery
Hours: Wed.-Sat. 12:00-5:00 pm

That’s it.

Ironheart, nanotechnology and the Marvel Comics Universe (MCU)

Jordan Iacobucci is quite excited about Ironheart’s move away from using nanotechnology in its recent Marvel Comics Universe (MCU) television adaptation. From Iacobucci’s July 7, 2025 article for CBR (self-proclaimed World’s Top Destination for Comic, Movie & TV News), Note: Links have been removed,

After years of delays, Ironheart is finally streaming on Disney+. The six-episode series follows up on Dominique Thorne’s Riri Williams a few days after her adventures with Shuri and the Wakandans during the events of Black Panther: Wakanda Forever as she returns home to Chicago in hopes of building something “iconic.” Though she must navigate several trials and tribulations, Riri finally succeeds in her goal, completing a brand-new version of her Ironheart suit.

As Ironheart wraps up its run on Disney+, fans have plenty to break down, from its groundbreaking finale to its surprisingly great visuals. Many fans may find that the series is much better than they may have anticipated, especially after review-bombing tried to dismiss Ironheart before it even premiered. The series fixes several long-standing issues with the Marvel Cinematic Universe, including one particularly annoying trend that has plagued the franchise since Avengers: Infinity War

The MCU Uses Way Too Much Nanotechnology

Fans Aren’t Fond of the Nanotechnology Trend in the MCU

It all started in Avengers: Infinity War. During a confrontation with Ebony Maw and Cull Obsidian, Tony Stark debuted his new nanotechnology, which spread out across his body from a small compartment on his chest to form a new suit of armor.

Iron Man’s “Bleeding Edge” armor was only the beginning of the MCU’s love affair with nanotechnology, particularly when it comes to superhero suits. Infinity War also gives Spider-Man his own nanotech suit, the Iron Spider armor, which he wears for the remainder of the film and in his next several MCU appearances. Since then, almost every masked MCU hero has upgraded to similar costumes, from Black Panther to Ant-Man. As impressive as the technology may be, fans aren’t fond of the nanotech suits.

Nanotech suits make sense from a practical standpoint. If a hero can cause their suit to form around them with the press of a button, then they don’t have to worry about being caught off-guard by an emerging threat. Though these upgrades make sense, viewers lose something special as a result. The “Bleeding Edge” Iron Man armor and other nanotech suits lose the tangibility of previous MCU superhero costumes.

With nanotech, viewers are never made to feel as if the hero is really wearing a suit. This is largely because the actor isn’t wearing the suit on set. Often, nanotech is implemented as an excuse to use CGI to cover or uncover an actor’s face with their superhero mask at any given point in a scene. As a result, however, the suits themselves feel less real, looking more like images composited in a computer than something that someone would wear while fighting crime.

This issue gets worse when a particular film or series doesn’t allow its graphics team enough time to complete their animation processes. Films like Ant-Man and the Wasp: Quantumania are horrible examples of this trend, featuring suits that sometimes look as though they were cobbled together on a laptop an hour before the movie hit theaters. Fans have been vocal about their distaste for nanotech suits for years, but Marvel has only doubled down on this trend since Infinity War–until now.

..

Iacobucci’s July 7, 2025 article goes on to wax rhapsodic over the return to ‘real’ technology,

The Ironheart armor feels real–much more real than any of the new nanotech suits introduced in recent MCU projects. In place of nanotechnology, Ironheart uses real technology to build her suit, and her series is so much better for it. It is much more visually appealing for viewers to see a tangible suit of armor on set with the actors.

Iacobucci has a point in that, while nanotechnology is a real technology; the nanotechnology in Iron Man is not (at this time).

So, what about the science in science fiction?

Officially launched in 2008 by the US National Academy of Sciences (NAS), the Science and Entertainment Exchange (see its Wikipedia entry), is one of the programs that filmmakers and others can consult when producing a science fiction piece. This March 16, 2022 article by Marian Caballo for The Science Survey delves into the topic of the science in science fiction, Note: Links have been removed,

Science is the backbone of our world, which means that it inevitably underlies the plots of many popular films and television shows. As an avid cinephile and biology research student myself, I often catch myself trying to break down characters’ scientific name-drops, or pausing to examine the scribbles of equations on background blackboards.

For example: in Don’t Look Up, an original Netflix movie that depicts the danger of a comet hurtling towards Earth, scientists lay out a plan to warn the world of its impending doom. In The Amazing Spider-Man, Peter Parker accidentally helps to create villainous mutant lizards with his solution to the “The Decay Rate Algorithm,” a fictional derivation of the Gompertz–Makeham law of mortality. Avengers: Endgame features an elaborate time travel plan involving Deutsch propositions, eigenvalues and inverted Möbius strips. None were technically real scientific developments, of course, but how do they sound so real? 

The answer: scientific consulting. This hidden field is dedicated to scientific advising in the entertainment industry, and it’s an exciting way for STEM [science, technology, engineering, and mathematics] professionals to become engaged in the world of fiction. These interactions connect Hollywood (writers, producers, directors), “with top STEM experts to create synergy between accurate science and engaging storytelling,” said Emilie Lorditch, founder of Real2Reel Science, a science consulting service for writers.

Media greatly impacts the public’s perception of science. According to The Pew Research Center, 81% of U.S. adults say they watch media involving criminal investigations, hospital/medical settings, or science fiction. The average American watches 84 movies a year. By placing STEM professionals on movie sets, scientists can not only assist in executing a narrative vision but also aid in sharing more engaging portrayals of STEM.

“The Hollywood, Health & Society program at USC [University of Southern California] has worked with multiple TV shows to develop storylines about organ donation, and has studied the impact of the plot on viewers’ knowledge, attitudes, and behavior,” said Lorditch, who believes science advising fosters mutual exchange. The USC Annenberg Norman Lear Center’s longitudinal impact studies focus on providing — then studying the impact of —  information about health, safety and security in Hollywood projects.

While many science consultants work independently or through institutions like USC, the science advising wing of Hollywood primarily stems from The National Academy of Sciences’ Science & Entertainment Exchange. Founded in 2008, the Exchange aims to improve the science that appears in narrative mainstream media through a “soft-sell” approach. The Exchange has completed more than 2,300 consultations on projects such as A Wrinkle in Time, Watchmen, and various Marvel Studios films. The organization essentially serves as a direct hotline for filmmakers to reach researchers, medical professionals, and more — as befits the Exchange’s actual phone number, 1-844-NEED-SCI.

However, it isn’t a scientific consultant’s job to make sure films are 100% accurate. Science fiction is called science fiction for a reason, and scientists aren’t keen on incorporating factual science when it comes at the expense of compelling storytelling. “The story always comes first. Period,” said Jennifer Ouellette, founding director of The Science & Entertainment Exchange. She now covers science and culture as a senior writer at Ars Technica, and has published several science-related books.

Ouellette always made sure to advise scientists working on their first Hollywood films to not just shake their heads when presented with a script. “They should think about what needs to happen in that scene, and come up with an even better scientific explanation. That makes it a win-win,” said Ouellette, who cites The Expanse as some of the best science representation in film and TV.

Insisting that science/scientists should only be portrayed in a positive light is not a solution, either. “Scientists are flawed human beings just like everyone else, and those flaws are what make us interesting and complex characters,” she continued.

Ouellette’s husband — theoretical physicist Sean M. Caroll at the California Institute of Technology — has served as a science consultant himself, helping to devise Tony Stark’s famous time-warping plan in Avengers: Endgame. He also advised one of Ouellette’s favorite science TV moments: an episode of BONES, when a physicist represses his grief over his gymnast daughter’s death. Caroll spent days on set writing a series of physics equations on blackboards. But he wasn’t developing hard science for the sake of science.

By the end of the episode, the characters learn that “each equation represents a moment in his daughter’s life: learning to walk, then run; doing her first backflip; a vault; and so on, until the final equation, showing her finally at rest. The writers turned it into a poem written in equations, and it remains one of the most amazing moments I’ve seen on television in a long time,” said Ouellette. 

On top of the fundamental fact that science must be in service of the story, the science doesn’t always have to be precise. “​​In the world of STEM, precision is crucial but for the majority of the public, not so much,” said Lorditch. Most viewers would agree. Spring Lin ’22 ignores “slightly questionable” scientific explanations, claiming they don’t interfere with the cinematic experience. “When there are no obvious wrongs in a movie, I usually don’t question it,” said Rita Chen ’22. 

Science advisors also lurk on a surprisingly wide range of sets — whether it is on reality TV such as MTV’s Teen Mom, or behind the scenes of The Simpsons. …

If you have the time, do read Caballo’s March 16, 2022 article.

The Science & Entertainment Exchange can be found here.

Iron Man and nanotechnology tidbits from years gone by

I have three previous posts about Iron Man’s nanotechnology, the earliest being from 2012.

Enjoy!

Physics of the Wild Cards fictional universe, a paper by physicist Ian Tregillis and author George RR Martin

I don’t often get a chance to mention superstar authors such as George RR Martin here but it does happen when science fiction authors and physics are concerned.

Caption: A coordinate system for the polar model of the Wild Cards system and an example of the viral vector trajectories. Credit: Ian Tregillis

A January 23, 2025 news item on phys.org announces the research paper,

Many science fiction authors try to incorporate scientific principles into their work, but Ian Tregillis, who is a contributing author of the Wild Cards book series when he’s not working as a physicist at Los Alamos National Laboratory, took it one step further: He derived a formula to describe the dynamics of the fictional universe’s viral system.

In independent research published in the American Journal of Physics, from AIP Publishing, Tregillis and George R.R. Martin derive a formula for viral behavior in the Wild Cards universe.

A January 23, 2025 American Institute of Physics (AIP) news release (also on EurekAlert), which originated the news item, describes both the ‘Wild Cards universe’ and the speculative physics in more detail,

Wild Cards is a science fiction series written by a collection of authors and edited by Martin and Melinda M. Snodgrass. Sitting at over 30 volumes, the books are about an alien virus called the Wild Card that mutates human DNA. Martin is credited as a co-author of the paper, making it his first peer-reviewed physics publication.

The idea to explore the science behind the fictional virus came from a series of blog posts on the Wild Cards website.

“Like any physicist, I started with back-of-the-envelope estimates, but then I went off the deep end. Eventually I suggested, only half-jokingly, that it might be easier to write a genuine physics paper than another blog post,” Tregillis said. “Being a theoretician, I couldn’t help but wonder if a simple underlying model might tidy up the canon.”

The formula he derived is a Lagrangian formulation, which considers the different ways a system can evolve. It’s also a fundamental physics principle, which also makes the fictional example a powerful teaching tool.

Tregillis shared that deriving this physical model was a fun but open-ended puzzle. After some trial and error of models based on fractals or thermodynamic analogies, he and Martin settled on the Lagrangian approach.

“We translated the abstract problem of Wild Card viral outcomes into a simple, concrete dynamical system. The time-averaged behavior of this system generates the statistical distribution of outcomes,” he said.

While the Wild Card virus can be modeled by physics, Tregillis emphasized that it isn’t a hard-and-fast rule in the canon.

“Good storytelling is about characters: their wants, needs, obstacles, challenges, and how they interact with their world,” Tregillis said. “The fictional virus is really just an excuse to justify the world of Wild Cards, the characters who inhabit it, and the plot lines that spin out from their actions.”

Here’s a link to and a citation for the paper,

Ergodic Lagrangian dynamics in a superhero universe by I. L. Tregillis and George R. R. Martin. Am. J. Phys. Volume 93, Issue 2 February 2025 127–136 DOI: https://doi.org/10.1119/5.0228859

This paper is open access.

One other thing, Wild Cards, a current television programme which has nothing to do with George RR Martin or physics, stars Vanessa Morgan and Giacomo Gianniotti in a Canadian Broadcasting Corporation (CBC) production about a con artist and a police officer solving crimes toghether can be seen here.

Toronto’s ArtSci Salon hosts opening receptions for two very different exhibition events on February 5, 2025

A January 27, 2025 ArtSci Salon notice (received via email and visible here on a mailchimp webpage for a limited time) announces the events. Here’s the first exhibition and its associated events,

Speculative Meteorology: Weather Channeled
Feb 3-7, [2-25] 10-4pm [ET] 

opening reception : Feb 5, [2025] 5-7pm [ET]
Special Projects Gallery,
Goldfarb Centre for the Arts
York University [Toronto, Ontario, Canada]

Curated by Aftab Mirzaei (Science and Technology Studies) with Mark-David Hosale (Digital Media) and showcases the work of artists and researchers including, Chris Beaulieu, Kwame Kyei-Boateng, Nava Waxman, Mark-David Hosale, Hiro Kubayashi, Grace Grothaus, Leo Liu, Winnie Luo, Aftab Mirzaei, and Colin Tucker.

DESCRIPTION
Speculative Meteorology: Weather Channeled emerges from a series of interdisciplinary experiments conducted by members of the nd:studiolab between 2023 and 2024. This exhibit invites artists and researchers to explore imaginative and multidimensional accounts of atmospheres and climates across past, present, and future. Drawing on Donna Haraway’s concept of SF—speculative fabulation as a mode of attention, a theory of history, and a practice of worlding—the works collectively reimagine our relationship to the weather, engaging it as a site of both knowledge-making and creative practice.

Sponsored by the nD::StudioLab at York University   

Environmental Monitoring for Art
a workshop as part of the Speculative Meteorology: Weather Channeled interdisciplinary art exhibition,
with Grace Grothaus

Feb 7, 2025, 12 -3 PM [ET]
ACW 103, The Transmedia Lab
York University [Toronto, Ontario, Canada]

In this three-hour workshop, we will fabricate sensors that can detect environmental data using some readily available materials and electronics. We will fabricate sensors that can detect animal footsteps, record raindrops, or measure wind and then learn to read their values using Arduino. The data from these sensors can be used as input for actuators in physical computing projects, or they can be triggers for screen-based animation or music – the options are wide and varied.

Space is limited, click here to sign up

Here’s the second exhibition and its associated events, from the January 25, 2025 notice,

Afterglow Exhibition
Feb 4-7, [2-25] 10-3pm [ET]

opening reception : Feb 5, [2025] 5-7pm [ET] 
Gales Gallery,
York University [Toronto, Ontario, Canada]

Curated by : Nina Czegledy & Joel Ong, featuring international and local artists Raphael Arar, Nagy Molnar, Laszlo Zsolt Bordos, Jennifer Willet, Joel Ong (with Khaled Eilouti,  Zhino Yousefi, Shelby Murchie and Oliver Debski-Tran)

AFTERGLOW [ af-ter-gloh, ahf- ] is an exhibition envisioned around the graphic quality of light, as well as its traces and incandescence both real and metaphorical. The participating artists explore cross-cultural practices via a variety of analog and digital media, relating light to unfolding contemporary considerations in the global Light Art panorama. At the same time, Afterglow references a deep resonance with the past, paying tribute to historical ideas that have illuminated our current understandings of interconnected systems of values and beliefs that underly the complementary artistic practices today.

In the words of pioneering Hungarian artist György Kepes (1906-2001) : “Our human nature is profoundly phototropic”. The exhibition is a reminder of the integral nature of light to human and more-than-human life, but also to the notion of light as a sensory environment within which we remain rooted, transfixed and nourished.  The exhibiting artists take up these ideas in various formations, alluding to the physical, metaphorical and ecological implications of light. As an initial exhibition prototype, Afterglow is presented first at the Gales Gallery at York University in Toronto as it grows towards future touring exhibitions and symposia. The exhibition is integrated with a virtual Symposium that features exhibiting artists as well as International artists/theorists in conversation. Please proceed to our Eventbrite page for more details and registration [see below].  – Nina Czegledy, Joel Ong. 

Afterglow Symposium
Feb 6 [2025] 1-3pm [ET]
Symposium Presenters: Andrea Polli, Jennifer Willet, Joel Ong, Karolina Halatek, Marton Orostz, Nina Czegledy and Raphael Arar.

ONLINE, Register Here (Zoom link)

How to reach the three venues (Special Projects and Gales Galleries + Transmedia lab)?

click here

If you’re in Toronto, you’re spoiled for choices. As for the rest of us, the Afterglow Symposium, as a hybrid event, offers an opportunity to hear from the artists.

Merry 2024 Christmas (2 of 2) What sounds like something from Star Trek? Answer: 7 new frog species discovered in Madagascar

‘Captain Sisko’ is a new favourite frog image and the audio file is a revelation (scroll down and the scroll down further). Later on, this is an amusing cartoon version of a Star Trek captain.

As for the story proper, scientists who have a passion for Star Trek have made a discovery in Madagascar, from an October 15, 2024 news item on ScienceDaily,

An international team of researchers have discovered seven new species of tree frogs that make otherworldly calls in the rainforests of Madagascar. Their strange, high-pitched whistling calls sound more like sound effects from the sci-fi series Star Trek. As a result, the researchers have named the new species after seven of the series’ most iconic captains.

This is a gorgeous frog,

Frog Boophis to be named after Captain Sisko from Star Trek. Photo: Mark D. Scherz

An October 15, 2024 University of Copenhagen press release (also on EurekAlert), which originated the news item,

If you think all frogs croak, you’d be wrong. Seven newly discovered species from the tree frog genus Boophis, found across the rainforests of Madagascar, emit special bird-like whistling sounds in their communication with other frogs.

These whistling sounds reminded the research team, led by Professor Miguel Vences of the Technische Universität Braunschweig, Germany, of Star Trek, where similar whistle-like sound effects are frequently used.

“That’s why we named the frogs after Kirk, Picard, Sisko, Janeway, Archer, Burnham, and Pike—seven of the most iconic captains from the sci-fi series,” says Professor Vences.

“Not only do these frogs sound like sound-effects from Star Trek, but it seems also fitting that to find them, you often have to do quite a bit of trekking! A few species are found in places accessible to tourists, but to find several of these species, we had to undertake major expeditions to remote forest fragments and mountain peaks. There’s a real sense of scientific discovery and exploration here, which we think is in the spirit of Star Trek,” explains Assistant Professor Mark D. Scherz from the Natural History Museum of Denmark at the University of Copenhagen, who was senior author on the study.

To Drown Out the Sound of Water

The otherworldly calls of these frogs are known as “advertisement calls”—a type of self-promotion that, according to the researchers, may convey information about the male frog’s suitability as a mate to females. This particular group live along fast-flowing streams in the most mountainous regions of Madagascar—a loud background that may explain why the frogs call at such high pitches.

For fans of Star Trek, some of the frog calls might remind them of sounds from the so-called ‘boatswain whistle’ and a device called the ‘tricorder.’ To others, they might sound like a bird or an insect.

“If the frogs just croaked like our familiar European frogs, they might not be audible over the sound of rushing water from the rivers they live near. Their high-pitched trills and whistles stand out against all that noise,” explains Dr Jörn Köhler, Senior Curator of Vertebrate Zoology at the Hessisches Landesmuseum Darmstadt, Germany, who played a key role in analyzing the calls of the frogs.

“The appearance of the frogs has led to them being confused with similar species until now, but each species makes a distinctive series of these high-pitched whistles, that has allowed us to tell them apart from each other, and from other frogs,” he says.

The calls also lined up with the genetic analysis the team performed.

Vulnerable to Climate Change

Madagascar is renowned for its immense biodiversity, and research in its rainforests continues to uncover hidden species, making it a true paradise for frogs. Madagascar, an island roughly the size of France, is home to about 9% of all the world’s frog species.

“We’ve only scratched the surface of what Madagascar’s rainforests have to offer. Every time we go into the forest, we find new species, and just in terms of frogs, there are still several hundred species we haven’t yet described,” says Professor Andolalao Rakotoarison of the Université d’Itasy in Madagascar. Just in the last ten years, she and the rest of this team have described around 100 new species from the island.

The researchers behind the discovery hope that this new knowledge will strengthen conservation efforts in Madagascar’s rainforests. The species often live in close geographic proximity but at different altitudes and in different microhabitats. This division makes them particularly vulnerable to changes in climate or the environment.

Thus, the research team urges greater awareness around the conservation of Madagascar’s biodiversity to ensure that these unique species and their habitats are preserved for the future. But they also hope to continue exploring, to seek out new species in forests where no scientist has gone before.

Researchers have made an audio file of the ‘Star Trek’ captain calls available, from the October 15, 2024 University of Copenhagen press release on EurekAlert, If I didn’t know, I would have guessed these were frogs,

Here’s a link to and a citation for the paper

Communicator whistles: A Trek through the taxonomy of the Boophis marojezensis complex reveals seven new, morphologically cryptic treefrogs from Madagascar (Amphibia: Anura: Mantellidae) by Miguel Vences, Jörn Köhler, Carl R. Hutter, Michaela Preick, Alice Petzold, Andolalao Rakotoarison, Fanomezana M. Ratsoavina, Frank Glaw, Mark D. Scherz. Vertebrate Zoology 74: 643-681 DOI: https://doi.org/10.3897/vz.74.e121110 Published October 14, 2024

This article appears to be open access.

There is an amusing illustration of one of the ‘Star Trek’ frog. Unfortunately, there isn’t a caption or credit for the illustration but it is from the University of Copenhagen,