The City and the Stars / The Sands of Mars by Arthur C. Clarke Page B
Authors: Arthur C. Clarke
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met in combat or strove to scale those mountain peaks of philosophy which are never conquered yet whose challenge never palls.
No man or woman was without some absorbing intellectual interest. Eriston, for example, spent much of his time in prolonged soliloquies with the Central Computer, which virtually ran the city, yet which had leisure for scores of simultaneous discussions with anyone who cared to match his wits against it. For three hundred years, Eriston had been trying to construct logical paradoxes which the machine could not resolve. He did not expect to make serious progress before he had used up several lifetimes.
Etania’s interests were of a more esthetic nature. She designed and constructed, with the aid of the matter organizers, three-dimensional interlacing patterns of such beautiful complexity that they were really extremely advanced problems in topology. Her work could be seen all over Diaspar, and some of her patterns had been incorporated in the floors of the great halls of choreography, where they were used as the basis for evolving new ballet creations and dance motifs.
Such occupations might have seemed arid to those who did not possess the intellect to appreciate their subtleties. Yet there was no one in Diaspar who could not understand something of what Eriston and Etania were trying to do and did not have some equally consuming interest of his own.
Athletics and various sports, including many only rendered possible by the control of gravity, made pleasant the first few centuries of youth. For adventure and the exercise of the imagination, the sagas provided all that anyone could desire. They were the inevitable end product of that striving for realism which began when men started to reproduce moving images and to record sounds, and then to use these techniques to enact scenes from real or imaginary life. In the sagas, the illusion was perfect because all the sense impressions involved were fed directly into the mind and any conflicting sensations were diverted. The entranced spectator was cut off from reality as long as the adventure lasted; it was as if he lived a dream yet believed he was awake.
In a world of order and stability, which in its broad outlines had not changed for a billion years, it was perhaps not surprising to find an absorbing interest in games of chance. Humanity had always been fascinated by the mystery of the falling dice, the turn of a card, the spin of the pointer. At its lowest level, this interest was based on mere cupidity— and that was an emotion that could have no place in a world where everyone possessed all that they could reasonably need. Even when this motive was ruled out, however, the purely intellectual fascination of chance remained to seduce the most sophisticated minds. Machines that behaved in a purely random way— events whose outcome could never be predicted, no matter how much information one had— from these philosopher and gambler could derive equal enjoyment.
And there still remained, for all men to share, the linked worlds of love and art. Linked, because love without art is merely the slaking of desire, and art cannot be enjoyed unless it is approached with love.
Men had sought beauty in many forms— in sequences of sound, in lines upon paper, in surfaces of stone, in the movements of the human body, in colors ranged through space. All these media still survived in Diaspar, and down the ages others had been added to them. No one was yet certain if all the possibilities of art had been discovered; or if it had any meaning outside the mind of man.
And the same was true of love.
CHAPTER
6
J eserac sat motionless within a whirlpool of numbers. The first thousand primes, expressed in the binary scale that had been used for all arithmetical operations since electronic computers were invented, marched in order before him. Endless ranks of 1’s and 0’s paraded past, bringing before Jeserac’s eyes the complete sequence of all those numbers
No man or woman was without some absorbing intellectual interest. Eriston, for example, spent much of his time in prolonged soliloquies with the Central Computer, which virtually ran the city, yet which had leisure for scores of simultaneous discussions with anyone who cared to match his wits against it. For three hundred years, Eriston had been trying to construct logical paradoxes which the machine could not resolve. He did not expect to make serious progress before he had used up several lifetimes.
Etania’s interests were of a more esthetic nature. She designed and constructed, with the aid of the matter organizers, three-dimensional interlacing patterns of such beautiful complexity that they were really extremely advanced problems in topology. Her work could be seen all over Diaspar, and some of her patterns had been incorporated in the floors of the great halls of choreography, where they were used as the basis for evolving new ballet creations and dance motifs.
Such occupations might have seemed arid to those who did not possess the intellect to appreciate their subtleties. Yet there was no one in Diaspar who could not understand something of what Eriston and Etania were trying to do and did not have some equally consuming interest of his own.
Athletics and various sports, including many only rendered possible by the control of gravity, made pleasant the first few centuries of youth. For adventure and the exercise of the imagination, the sagas provided all that anyone could desire. They were the inevitable end product of that striving for realism which began when men started to reproduce moving images and to record sounds, and then to use these techniques to enact scenes from real or imaginary life. In the sagas, the illusion was perfect because all the sense impressions involved were fed directly into the mind and any conflicting sensations were diverted. The entranced spectator was cut off from reality as long as the adventure lasted; it was as if he lived a dream yet believed he was awake.
In a world of order and stability, which in its broad outlines had not changed for a billion years, it was perhaps not surprising to find an absorbing interest in games of chance. Humanity had always been fascinated by the mystery of the falling dice, the turn of a card, the spin of the pointer. At its lowest level, this interest was based on mere cupidity— and that was an emotion that could have no place in a world where everyone possessed all that they could reasonably need. Even when this motive was ruled out, however, the purely intellectual fascination of chance remained to seduce the most sophisticated minds. Machines that behaved in a purely random way— events whose outcome could never be predicted, no matter how much information one had— from these philosopher and gambler could derive equal enjoyment.
And there still remained, for all men to share, the linked worlds of love and art. Linked, because love without art is merely the slaking of desire, and art cannot be enjoyed unless it is approached with love.
Men had sought beauty in many forms— in sequences of sound, in lines upon paper, in surfaces of stone, in the movements of the human body, in colors ranged through space. All these media still survived in Diaspar, and down the ages others had been added to them. No one was yet certain if all the possibilities of art had been discovered; or if it had any meaning outside the mind of man.
And the same was true of love.
CHAPTER
6
J eserac sat motionless within a whirlpool of numbers. The first thousand primes, expressed in the binary scale that had been used for all arithmetical operations since electronic computers were invented, marched in order before him. Endless ranks of 1’s and 0’s paraded past, bringing before Jeserac’s eyes the complete sequence of all those numbers
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