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"A good science fiction story should be able to predict not the automobile but the traffic jam."
- Frederik Pohl
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| Aerostat Monitor | ||
| A small flying platform, capable of maneuvering in three dimensions; can hover in place and communicate with others like it. |
I've seen a device very similar to this demonstrated on TechTV, but I can't find any other reference to it. It was about a foot square, with a fan in the middle, and looked like a flying bathroom ceiling fan.
| ...then Bud made himself scarce, because the monitors - almond-sized aerostats with eyes, ears, and radios - had probably picked up the sound of the explosion and begun converging on the attack. He saw one hiss by him as he rounded the corner, trailing a short whip antenna that caught the light like a hairline crack in the atmosphere. Aerostat meant anything that hung in the air. This was an easy trick to pull off nowadays. Nanotech materials were stronger. Computers were infinitesimal. Power supplies were much more potent...a device built with several thrusters pointed along different axes could remain in one position or indeed navigate through space. |
| Technovelgy from The Diamond Age,
by Neal Stephenson. Published by Bantam Books in 1995 Additional resources -
|
Aerostat is really a generic word for craft that get their "lift" from the buoyancy of the surrounding air, rather than by the use of screws or turbines. At present, aerostats are in use as radar platforms; they are usually dirigibles and are not small.
Here's a bit more:
In the novel, the author does point out that flying or hovering devices are much easier to make in an era when nanotechnology makes very light, very strong materials and machines possible.
Compare to the raytron apparatus from Beyond the Stars (1928) by Ray Cummings, the scarab robot flying insect from The Scarab (1936) by Raymond Z. Gallun, the artificial eye drone from Glimpse (1938) by Manly Wade Wellman, eyes from This Moment of the Storm (1966) by Roger Zelazny, the Ultraminiature Spy-Circuit from The Unknown (1972) by Christopher Anvil, copseyes from Cloak of Anarchy (1972) by Larry Niven, the sky ball from A Day For Damnation (1985) by David Gerrold, the drone floater camera from Runaway (1985) by Michael Crichton, the loiter drone from The Algebraist (2004) by Iain Banks and the bee cam from City of Pearl (2004) by Karen Traviss.
Each aerostat in the dog pod grid was a mirror-surfaced, aerodynamic teardrop just wide enough, at its widest part, to have contained a pingpong ball. These pods were programmed to hang in space in a hexagonal grid pattern, about ten centimeters apart near the ground (close enough to stop a dog but not a cat, hence "dog pods") and spaced wider as they got higher. In this fashion a hemispherical dome was limned around the sacrosanct airspace of the New Atlantis Clave. When wind gusted, the pods all swung into it like weathervanes, and the grid deformed for a bit as the pods were shoved around; but all of them eventually worked their way back into place, swimming upstream like minnows, propelling the air turbines. The 'bines made a thin hissing noise, like a razor blade cutting air, that, when multiplied by the number of pods within earshot, engendered a not altogether cheerful ambience.
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Additional
resources:
More Ideas
and Technology from The Diamond Age
More Ideas
and Technology by Neal Stephenson
Tech news articles related to The Diamond Age
Tech news articles related to works by Neal Stephenson
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'If the biological robots were not living creatures, they were certainly very good imitations.'
"Everybody and his dog, it seemed, wanted to live out in the country; transportation and communication were no longer isolating factors."
'... the new typewriter that could be talked to, and which transposed the spoken sound into typed words.'
'... underneath they consisted of networks of cooling tubes against the skin.'
'My cars talk to one another. I have no doubt about it...'
'... the imprint of her image on the telephoto cell.'
