Ftl Quotes

You turned into a cat! A SMALL cat! You violated Conservation of Energy! That's not just an arbitrary rule, it's implied by the form of the quantum Hamiltonian! Rejecting it destroys unitarity and then you get FTL signalling! And cats are COMPLICATED! A human mind can't just visualise a whole cat's anatomy and, and all the cat biochemistry, and what about the neurology? How can you go on thinking using a cat-sized brain?

How far a journey, Lord?" His lips drew back and back. "A very far journey, Lady. Yet it will last only one long night.

Grandma always said, “Make sure you’re wearing clean underwear just in case you have to sacrifice yourself realigning an FTL drive in outer space someday!

Imagine a vast and glittering ocean seen from a great height. It stretches to the clear curved limit of every angle of horizon, the sun burning on a billion tiny wavelets. Now imagine a smooth blanket of cloud above the ocean, a shell of black velvet suspended high above the water and also extending to the horizon, but keep the sparkle of the sea despite the lack of sun. Add to the cloud many sharp and tiny lights, scattered on the base of the inky overcast like glinting eyes: singly, in pairs or in larger groups, each positioned far, far away from any other set.

If I’m stuck in bed it’s not unusual for me to read half a dozen books in a day. I know I’m not going to live forever, I know there are more books than I can ever read. But I know that in my head, the same way I know the speed of light is a limit. In my heart I know reading is forever and FTL is just around the corner.

[H.G. Wells said] that his method was "to trick his reader into an unwary concession to some plausible assumption and get on with his story while the illusion holds." Such prestidigitation is a characteristic ploy of science fiction: to make a nonexistent entity or impossible premise acceptable (often by scientific-sounding terms such as telepathy, extraterrestrial, cavorite, FTL speed) and then follow through with a genuinely realistic, logically coherent description of the effects and implications. Of course the accurate narrative description of the nonexistent is a basic device of all fiction. The extension to the impossible is proper to fantasy, but since we seldom know with certainty what is or is not possible, it is a legitimate element of science fiction too. What if? is a question asked by both science fiction and experimental science, and they share their method of answering it: make a postulate and then carefully observe its consequences. - Words Are My Matter by Ursula K. Le Guin

That’s crazy! We can’t go the way of—” “Since when has human history been anything else?” asks the woman with the camera on her shoulder—Donna, being some sort of public archivist, is in Sirhan’s estimate likely to be of use to him. “Remember what we found in the DMZ?” “The DMZ?” Sirhan asks, momentarily confused. “After we went through the router,” Pierre says grimly. “You tell him, love.” He looks at Amber. Sirhan, watching him, feels it fall into place at that moment, a sense that he’s stepped into an alternate universe, one where the woman who might have been his mother isn’t, where black is white, his kindly grandmother is the wicked witch of the west, and his feckless grandfather is a farsighted visionary. “We uploaded via the router,” Amber says, and looks confused for a moment. “There’s a network on the other side of it. We were told it was FTL, instantaneous, but I’m not so sure now. I think it’s something more complicated, like a lightspeed network, parts of which are threaded through wormholes that make it look FTL from our perspective. Anyway, Matrioshka brains, the end product of a technological singularity—they’re bandwidth-limited. Sooner or later the posthuman descendants evolve Economics 2.0, or 3.0, or something else, and it, uh, eats the original conscious instigators. Or uses them as currency or something. The end result we found is a howling wilderness of degenerate data, fractally compressed, postconscious processes running slower and slower as they trade storage space for processing power. We were”—she licks her lips—“lucky to escape with our minds. We only did it because of a friend. It’s like the main sequence in stellar evolution; once a G-type star starts burning helium and expands into a red giant, it’s ‘game over’ for life in what used to be its liquid-water zone.

All you need is one mind to provide the FTL capability,” Jason explained. “Computers can do the actual routing.” Coln hissed quietly in surprise. “Technology is limited,” Jason said. “Only the mind is infinite.

The months on end of nothing but blackness grated on a person’s psyche. Sure, they had seen some incredible sights during some of their stops to recharge their FTL drive, but they didn’t replace the warmth of a sun’s rays on your skin, or the senseless banter of people talking in a restaurant or coffee shop. The ability to share these incredible sights with the one you loved left him longing more and more for home and Lilly’s embrace than he thought he could bear. In the depths of space, all anyone had was the people and stuff they brought with them.

Baldessh has no intelligence apparatus. No spies, no automated surveillance, nothing. I have it on very good authority." <"Maybe they're just so good that we haven't heard of them?" "Don't be stupid." --Transcript, Kovan Flagship:"Exchange between Head of Military Intelligence and Kovan Warlord, FTL, Space.

Every pre-FTL civilization we know of has alcohol. I mean, imagine you're stuck to a single planet, it takes decades to cross just your own solar system. Wouldn't you invent vodka?

Essentially, in the model of strange fiction based in shifts in narrative modality, we are reversing the polarity, treating those ‘contents’ (errata, nova and chimera) as the end results of a literary technique of estrangement, the effects of strangeness rather than the cause. These quirks – dragons, spaceships, magic, FTL – are not things which, in and of themselves, make fiction strange. Rather they are the epiphenomena of an underlying process of semiosis, figurae generated and combined to create meaning, gaining their symbolic power by their application. Genre is not a question of which trove of tropes one uses, of a characteristic set of quirks; rather it is a quality emergent from the underlying dynamics of modalities, the nature of the impossibilities and our affective responses to them – the uncertainties and ethical imperatives too, if we include epistemic and deontic quirks in our scope along with the alethic and boilomaic.