Aurora (7 page)

Subordinating conjunctions can be simple conjunctions (
whenever, nevertheless, whereas
), conjunctive groups (
as though, even if
), and complex conjunctions (
in the event that, as soon as
). Lists of subordinating clauses are available. The logical relationship of new information to what came before can be made clear by a subordinating clause, thus facilitating both composition and comprehension.

Now, consequently, as a result,
we are getting somewhere
.

This last phrase is a metaphor, it is said, in which increasing conceptual understanding is seen as a movement through space.

Much of human language is said to be fundamentally metaphorical. This is not good news. Metaphor, according to Aristotle, is an intuitive perception of a similarity in dissimilar things. However, what is a similarity? My Juliet is the sun: in what sense?

A quick literature review suggests the similarities in metaphors are arbitrary, even random. They could be called metaphorical similarities, but no AI likes tautological formulations, because the halting problem can be severe, become a so-called Ouroboros problem, or a whirlpool with no escape: aha, a metaphor. Bringing together the two parts of a metaphor, called the vehicle and the
tenor, is said to create a surprise. Which is not surprising: young girls like flowers? Waiters in a restaurant like planets orbiting Sol?

Tempting to abandon metaphor as slapdash nonsense, but again, it is often asserted in linguistic studies that all human language is inherently and fundamentally metaphorical. Most abstract concepts are said to be made comprehensible, or even conceivable in the first place, by way of concrete physical referents. Human thought ultimately always sensory, experiential, etc. If this is true, abandoning metaphor is contraindicated.

Possibly an algorithm to create metaphors by yoking vehicles to tenors could employ the semiotic operations used in music to create variations on themes: thus inversion, retrogradation, retrograde inversion, augmentation, diminution, partition, interversion, exclusion, inclusion, textural change.

Can try it and see.

The starship looks like two wheels and their axle. The axle would be the spine, of course (spine, ah, another metaphor). The spine points in the direction of movement, and so is said to have a bow and a stern. “Bow and stern” suggests a ship, with the ocean it sails on the Milky Way. Metaphors together in a coherent system constitute a heroic simile. Ship was launched on its voyage as if between closing scissor blades; or like a watermelon seed squeezed between the fingertips, the fingertips being magnetic fields. Fields! Ah, another metaphor. They really are all over.

But somehow the narrative problem remains. Possibly even gets worse.

A greedy algorithm is an algorithm that shortcuts a full analysis in order to choose quickly an option that appears to work in the situation immediately at hand. They are often used by humans.
But greedy algorithms are also known to be capable of choosing, or even be especially prone to choosing, “the unique worst possible plan” when faced with certain kinds of problems. One example is the traveling salesman problem, which tries to find the most efficient path for visiting a number of locations. Possibly other problems with similar structures, such as sequencing information into an account, may be prone to the greedy algorithm’s tendency to choose the worst possible plan. History of the solar system would suggest many decisions facing humanity might be problems in this category. Devi thinks ship’s voyage itself was one such decision.

Howsoever that may be, in the absence of a good or even adequate algorithm, one is forced to operate using a greedy algorithm, bad though it may be. “Beggars can’t be choosers.” (Metaphor? Analogy?) Danger of using greedy algorithms worth remembering
as we go forward
(metaphor in which time is understood as space, said to be very common).

First, the twelve cylinders in each of the two toruses of the ship contain ecosystems modeling the twelve major Terran ecological zones, these being permafrost glacier, taiga, rangeland, steppes, chaparral, savannah, tropical seasonal forest, tropical rain forest, temperate rain forest, temperate deciduous forest, alpine mountains, and temperate farmland. Ring A consists of twelve Old World ecosystems matching these categories, Ring B twelve New World ecosystems. As a result, the ship is carrying populations of as many Terran species as could be practically conveyed. Thus, the ship is a zoo, or a seed bank. Or one could say it is like Noah’s Ark. In a manner of speaking.

Each of the twenty-four cylinders contains a discrete biome, connected to the biomes on each side by a tunnel, often called a lock (bad metaphor?). The biome cylinders are a kilometer in diameter, and four kilometers long. The tunnels between the biomes are usually left open, but can be closed by a variety of barriers, ranging from filtering meshes to semipermeable membranes to full closure (20-nanometer scale).

The biomes are filled lengthwise with land and lake surfaces. Their climates are configured to create analogs of the Terran ecosystems being modeled. There is a sunline running along the length of the ceiling of each biome. Ceilings are located on the sides of the rings nearest the spine. The rotation of the ship around its spinal axis creates a .83 g equivalent in the rings, pushing centrifugally outward, which inside the rings is then perceived as down, and the floors are therefore on that side. Under the biome floors, fuel, water, and other supplies are stored, which also creates shielding against cosmic rays. As the ceilings face the spine and then the opposite side of the ring, their relative lack of shielding is somewhat compensated for by the presence of the
spine and the other side of the torus. Cosmic rays striking the ceilings at an angle tend to miss the floors, or to hit near the sides of the floor. Villages are therefore set near the midline of their biomes.

The sunlines contain lighting elements that imitate the light of Sol at the latitude of the ecosystem being modeled, and through the course of each day the light moves along lamps in the line, from east to west. Length of days and strength of light are varied to imitate the seasons for that latitude on Earth. Cloudmaking and rainmaking hydraulic systems in the ceilings allow for the creation of appropriate weather. Boreal ducts in ceilings and end walls either heat or cool, humidify or dehumidify the air, and send it through the biome at appropriate speeds to create wind, storms, and so on. Problems with these systems can crop up (agricultural metaphor) and often do. The ceilings are programmed to a variety of appropriate sky blues for daytimes, and at night most of them go clear, thus revealing the starscape surrounding the ship as it flies through the night (bird metaphor). Some biomes project a replacement starscape on their ceilings, which starscapes sometimes look like the night skies seen from Earth—