Στη Χώρα των Θαυμάτων: Επιστημονική Φαντασία - Από τη Μαίρη Σέλλεϋ στον Ισαάκ Ασίμωφ

Name: Στη Χώρα των Θαυμάτων: Επιστημονική Φαντασία - Από τη Μαίρη Σέλλεϋ στον Ισαάκ Ασίμωφ
Uploaded: 2025-10-14T12:48:17+00:00
Duration: 45 min 11 s
Channel: bgrego

bgrego

4 minutes ago

Στη Χώρα των Θαυμάτων: Επιστημονική Φαντασία (Wonderland: Science Fiction in an Atomic Age)

2024 | Επ. 1/4 | HD

Με πλούσιο οπτικό υλικό και ειδικά γραμμένη ορχηστρική μουσική, αυτή η σειρά θα εμπνεύσει, θα σοκάρει, θα δεσμεύσει και θα διασκεδάσει, με την υποβλητική περιγραφή των οραμάτων του μέλλοντος που εκφράζονται στα μεγαλύτερα έργα επιστημονικής φαντασίας. Η σειρά διερευνά την ιστορία της επιστημονικής φαντασίας στην ατομική εποχή. Εξετάζει τη δημιουργία της ατομικής βόμβας από τον Robert Oppenheimer και άλλους, τον Ψυχρό Πόλεμο και τις πολλές ποικιλίες έκφρασης επιστημονικής φαντασίας σε όλα τα μέσα.

Από την πρώτη ατομική έκρηξη, στο μυθιστόρημα του Ρόμπερτ Κρόμι The Crack of Doom, το 1895, μέχρι το 1945, τα πυρηνικά όπλα δεν υπήρχαν παρά μόνο στην επιστημονική φαντασία και στη φαντασία όσων επηρεάστηκαν άμεσα ή έμμεσα από αυτό το είδος, συμπεριλαμβανομένων των επιστημόνων, που μετέτρεψαν αυτές τις εφευρέσεις από φαντασία σε πραγματικότητα.

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02:03μεγαλύτερη από ευρωπαϊκοσοτήσεις που έρεπε από το Αμερικές τομείς για να επιχειρήσουμε τη τέρα στη χρόνια της ιστορίας

02:11η Α-ΟΕΛΝΤΗΗ μήκα και μπορούν να δείξει στις ψηφυγίες σχεδοποιοντας το ΒΕΛΟ.

02:19Η αρμήρφη της ΑΕΛΛΝΗ, η αρμήρφη της ΒΕΛΝΗΛΗ, η αρμήρφη της ΑΛΛΝΗΛΗΔΗ,

02:25ΜΕΕΙΕΕΕΕΙΝΕΙΟΕΕΩΗΕΗΝΙΗΑΣΟΕΘΟΝΗΕΝΕΕΟΕΝΕΝΑΟΕΤΕΛΕΡΙΕΕΝΗΕΕΑΟΝΑΟΗΕΟΕΙΣΟΗΩΔΗΕΝΕΕΝΕΝΗΕΝΕΕΝΗΝΟΟΗΤΗΕΟΕΝΕΟΗΝΗΗΔΗΕΝΗΟΛΝΙΛΗΝ

02:55που δεν μπορούσε να καταφέρει,

02:57οι φυσικίες νοοογείλοι,

03:01και αυτό είναι ένας γνωγελός που δεν μπορούσε να κρυφθεί.

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03:09προσθέσεις της δημοσιογράφης.

03:12Δεν ήταν σημαντικό νοοογένει,

03:15αλλά ήταν σημαντικό,

03:17γιατί έπρεπε να προσθέσεις μιας αλληλείας.

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03:26This deadly atomic impact was felt by the people of Japan.

03:31Its after effects were to be seen in the ruined bodies

03:35and deaths of hundreds of thousands of Japanese citizens.

03:42H.G. Wells had written prophetically and extensively

03:46in the late 19th and 20th centuries

03:49about radiation and atomic energy.

03:55Ρωτή, μια νέα γραμμή θα μπορεί να μην πιθανείς στον χρόνο.

04:02Αυτό θα συμβαίνει μέχρι να μητήσει με την οικονομία και την οικονομία του παντού.

04:07Ήρθαίστος, φυσικά, φύλλα, φύλλα, φιλούσια, φλούδες και φύλλα.

04:13Ήρθαίσαι με λίγης αρκετά πολλούς χωρίς,

04:15μόνο μέχρι να μητήσει σε αρκετά σπίτι,

04:17αλλά σε πιο μητήμα πηγητή σε αυτό το Ιησό.

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06:28It's hard to identify a particular starting point for science fiction that you can point a finger at and say, here is where it begins.

06:37Mary Shelley's Frankenstein has often been identified as the first true example of science fiction.

06:45It was the only science fiction novel published in 1818. In 2018 there are probably 10,000.

06:53I paused, examining and analyzing all the mutiae of causation as exemplified in the change from life to death and death to life.

07:10Until, from the midst of this darkness, a sudden light broke in upon me.

07:15A light so brilliant and wondrous, yet so simple, that while I became dizzy with the immensity of the prospect which it illustrated,

07:24I was surprised that among so many men of genius who had directed their inquiries towards the same science,

07:31that I alone should be reserved to discover so astonishing a secret.

07:36Jules Verne is a very, very interesting figure in the history of fantastic literature in that he was understood,

07:46even in France during the 19th century when he was most active, as a writer primarily for children,

07:54as a writer of educational travelogues, as a community writer.

08:00What one discovers with Verne is that there is a darker, more isolated, more exploratory Jules Verne.

08:09Collision speed, full!

08:11Collision speed, full!

08:13Collision speed, full!

08:43We certainly have to look at the version of 20,000 Leagues Under the Sea that now exists.

08:51It has only existed, as far as we're aware, for the last 10 or 15 years,

08:56because the text was severely censored by its original publisher, so as to avoid the true Verne.

09:05And that is the Verne that we see in Captain Nemo.

09:08I am the law and I am the judge.

09:13I am the oppressed.

09:15There is the oppressor.

09:17Through him I have lost all that I loved, cherished and venerated,

09:22country, wife, children, father and mother.

09:27I saw all perish.

09:29All that I hate is there.

09:31Say no more.

09:33There is what I call a prolepsis, a view of the future contained in every word he's writing.

09:41And that view is of a future which is very much darker than conventional science fiction,

09:47when it was invented a few years later, was interesting espousing.

09:52He is a much, much, much more interesting figure than the person who consoles us with technology.

10:01Walt Disney was very drawn to this particular story by Verne.

10:08And, I mean, there's a great deal in Nemo that would be attractive to any self-made man.

10:17You cannot tolerate the fate in humanity, because if you do all this, the structure of your very existence,

10:24which you built on hate and vengeance, all this will collapse around the naked lie of your life.

10:30You are a beaten man at war with the dictates of his heart.

10:34Ian Forster wrote a remarkable short story in 1908 called The Machine Stops.

10:45This remarkable story portrays a world where humans have lost their humanity and must live underground,

10:52but have the benefit of everything from computers, videophones, air travel, to quite extraordinary other capabilities based on technology.

11:04The existential problem is that nobody sees each other except through a machine.

11:09People rarely meet each other.

11:12Some describe the machine stops as a parable representing the pandemic.

11:18In fact, it can more accurately be said to portray a world dependent upon externalisation,

11:24a worldwide unitary computer code that requires only logical thought,

11:30a world which many regard as dehumanised and deeply depersonalised.

11:36H.G. Wells deserves to be very much more widely known and more fully appreciated than is currently the case.

11:49He was a hugely influential writer.

11:53He had a really remarkable ability to foresee possible developments, notably atomic warfare.

12:03H.G. Wells had written prophetically and extensively in the late 19th and 20th centuries about radiation and atomic energy.

12:14H.G. Wells' prescience is astonishing with his foretelling of space travel to the moon and beyond

12:22and his prediction that the Second World War was inevitable in his book The Shape of Things to Come.

12:28He writes about the possible consequences of aerial warfare, of a mid-20th century war that would be dominated by aerial warfare.

12:40It was astonishingly prophetic.

12:43He predicts the Second World War and how it might develop.

12:47H.G. Wells' Bros.

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14:16όπως όλοι όλοι, όπως ο άντρας με μικρόσκοπης

14:19μπορούν να μιλήσουν τα πάντα συγκρίνητας

14:22που συμβάζουν και μιλήσουν

14:24με την αρκετήριασή μου.

14:27Με έντες εξαρτησία,

14:29άνθρωποι έτσι μικρός από το κόσμο

14:32για τους λιτουργούς αφαρές,

14:34σημείς στην ασφαρήση

14:36από το πλήμα του πλήματος.

14:39Ήταν πως ότι η Ινφυσσορία

14:42under the μικρόσκοπης του Ινότου το Ινότου.

14:44Μπορεί κάποιο οι έγιοι χωρίς το πραστολισμό του πραστολούς αρκούς αλήθεια

14:51η στιγμή των συντηρητικών γιατί niye νιωθούμε το σειρού των ιδιαίων άραφης

14:55άραμε αντιμετωπώς ή αποστολίμα.

14:58Μπορεί αυτή τα ίσιακρού δηλαδή ορκοκοτάσμων και την εμβάση

15:06από τέποτα ή από χωρήμας, أو από μυρήμα, από Λουνατολίς

15:11ΣΕΝΑΙΙΑΝΙΑΤΗΕΕΣΗΟΝΗΝΗΝΗΟΑΟΜΗΗΗΝΕΙΟΕΕΙΝΗΗΤΕΙΕΝΗΕΝΗΕΝΗΜΗΝΕΗΩΗΝΗΕΝΗΗΝΗΝΟΗΕΟΕΕΟΗΝΕΕΗΕΝΗΔΗΗΗΝΕΝΗΕΕΕΗΝΗΗΔΜΗΔΕΕΕΤΗΕΝΗΕ�

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19:47125,000 INHABITANTS OF THIS NOW RUINED, ASCHEN, AND ONCE GREAT GERMAN CITY.

19:57Vonnegut, born into wealth and privilege, enlisted as a private in the Second World War, captured and was imprisoned in Dresden.

20:06He wrote movingly of his experience, which came the basis of his novel, Slaughterhouse Five.

20:13The sky was black with smoke. The sun was an angry little pinhead. Dresden was like the moon now, nothing but minerals.

20:22The stones were hot. Everybody else in the neighbourhood was dead. So it goes.

20:29Billy looked at the guards as they drew together, rolled their eyes, mouths open, they looked like a silent film of a barbershop quartet.

20:41Similarly, JG Ballard, imprisoned with his parents after the fall of Singapore by the Japanese, suffered the most adverse and cruel conditions.

20:54Most importantly for him, he saw his parents continuously humiliated.

21:03He felt that this gave him a view of life not understood by people who had not had these kinds of desperate experiences.

21:12JG Ballard went on to describe all kinds of extremity and adversity in books like Crash and The Atrocity Exhibition.

21:21Anyone who has experienced a war firsthand knows that it completely overturns every conventional idea of what makes up day-to-day reality.

21:33You never feel quite the same again. It's like walking away from a plane crash. The world changes for you forever.

21:45An atomic bomb happens instantly, but its consequences linger for decades, maybe for hundreds of years.

21:56And among those consequences was the prospect of the entire obliteration of the human race, and that was a new thought.

22:06The post-Horoshima fear that all human life might be threatened by annihilation from nuclear weapons is lost to us.

22:15But for a period of at least 25 years, from 1945 to 1970, this lay behind every person's reality.

22:24The Cold War between capitalism and communism, the West and the East, the United States and Russia, threatened individual and collective annihilation daily.

22:37Intercontinental ballistic missiles with powerful atomic warheads were manufactured by both protagonists on a massive scale.

22:47Civil defence was offered throughout the Western world. There were many nuclear scares, seen most visibly and dramatically in the Cuban Missile Crisis.

22:59I call upon Chairman Khrushchev to halt and eliminate this clandestine, reckless and provocative threat to world peace.

23:08He has an opportunity now to move the world back from the abyss of destruction.

23:14The Cold War itself is a science fiction war, if one understands it as being a very, very simple conflict between two major powers,

23:27with the dice at hand being inconceivable weapons which somehow or other weren't going to blow up.

23:35If our continent were attacked, this red telephone would be lifted from its cradle,

23:41and instantly, SAC bases and aircraft in flight all over the world would be alerted.

23:47All over the world, people were experiencing a new kind of fear, a fear of oblivion, a fear of destruction.

24:08We reached the Bay of Pigs, we reached the Cuba crisis with JFK, John F. Kennedy.

24:14We come very, very close.

24:17I remember talking to someone who said,

24:19Well, I'm loading up the car with food and provisions, and we're going to drive up north, go up to Scotland,

24:25there'll be somewhere where we can survive.

24:27The fear of the bomb was huge.

24:32It may be a triumph of American science fiction that we did not end the world in 1963,

24:40because American science fiction told politicians and told us that there were ways through.

24:47And, indeed, there was. Don't push the button.

24:53The 1960s brought with it the inspiring and uplifting presidency of John F. Kennedy.

25:02Kennedy saw space as sending a rocket to the moon as the new frontier,

25:08with all its alarming overturns of the conquest of the American West

25:12and the fate of its indigenous peoples, and a new hope for the world.

25:18We choose to go to the moon in this decade and do the other things,

25:25not because they are easy, but because they are hard,

25:29because that goal will serve to organize and measure the best of our energies and skills,

25:36because that challenge is one that we're willing to accept,

25:40one we are unwilling to postpone, and one we intend to win.

25:45I present.

25:49Control both auto-descendant command override off.

25:52Mission arm off.

25:54We copy you down, Eagle.

25:56Tranquility base here. The Eagle has landed.

26:04That's one small step for man.

26:07One giant leap for mankind.

26:12The Eagle is on the moon.

26:13Let's fall set.

26:14Yes indeed, they've got the flag up now, and you can see the stars and stripes on the limit.

26:19The flag up now, and you can see the stars and stripes on the limit.

26:21The flag up now, and you can see the stars and stripes on the limit.

26:23Beautiful, just beautiful.

26:25John F. Kennedy was the last American president to be what one might call a science fiction president.

26:37That America would reach the moon, that was a pure science fiction scenario, and it was a pure science fiction outcome.

26:50What happened after 1970, of course, President Nixon nixed the space program because he could not follow the story.

27:01He did not see that it was worth diddly squat to spend billions of dollars on fragile machines to transport people to the moon where nothing was going to happen except that you were going to put your flag down.

27:16And for Kennedy, it was the ambition.

27:21I mean, now we look back on Kennedy's presidency, and we can see that in fact there were many things that Kennedy should have been focusing on in terms of the society and the societal needs of America.

27:36But he put all the effort into the conquest of space travel because it was a cultural significance.

27:44It said the Americans are better than the Russians.

27:47And with the increasing hostility between the East and the West, it bred a fear in society that was more than just a personal fear.

27:57It was a cultural fear.

28:00The fear of atomic catastrophe, a fear of a nuclear apocalypse, it was a shaping force when I was growing up.

28:07And I don't think it's not as present as it used to be, but it hasn't gone away because these machines and these technologies are still there.

28:14The phrase atom bomb was coined by H.G. Wells, the father of science fiction, one of many phrases that he coined that we use in common currency.

28:23He wrote a novel in 1912 that predicted an atomic war.

28:30But then when you start to see the consequences of that, and particularly, I think, when we go from not just Hiroshima and Nagasaki, but from the Second World War,

28:39a few years later, we're fighting a war again in Korea and then Vietnam and then all around the world.

28:45Atomic weapons get more and more destructive and the Cold War.

28:49It becomes a different matter. This technology is no longer, no longer has utopian potential.

28:56It's simply destructive. And I think that's one of the reasons why that particular line that Oppenheimer quotes,

29:02he's supposed to have translated it himself out of the Bhagavad Gita.

29:05I am become death, the destroyer of worlds, the shatterer of worlds.

29:09That's now what atomic means, in a sense, isn't it? It's simple violence. It's a world-shattering force.

29:16So then we end up with reactions to that. And the reactions are, you could say, heartfelt and meditations on ending and death,

29:26like Neville Shute's novel, On the Beach, which was made into a famous movie, or else satirical refractions back upon it,

29:33like Kubrick's Dr. Strangelove or How I Stopped Worrying and Learned to Love the Bomb, which is scaperously, darkly funny, but also very grim.

29:46It's a spoiler to give the ending of the movie away, but the world does end.

29:50In order to guard against surprise nuclear attack, America's Strategic Air Command maintains a large force of B-52 bombers,

29:58airborne 24 hours a day.

30:01I want you to transmit Plan R for Robert.

30:04Is it that bad, sir?

30:06Goldie, did you say Wing Attack Plan R?

30:10Could you tell me what it's about?

30:13Just a second.

30:15Apparently they monitored a transmission about eight minutes ago from Burpleson Air Force Base.

30:20It decoded as Wing Attack Plan R.

30:23What's cooking on the threat board?

30:25Nothing.

30:26Nothing at all?

30:30I don't like the look of this, Fred.

30:32Group Captain, the planes are not going to be recalled.

30:34My attack orders have been issued and the orders stand.

30:38A decision is being made by the President

30:42and the Joint Chiefs in the War Room at the Pentagon.

30:45And when they realize there is no possibility of recalling the wing,

30:51there will be only one course of action open.

30:54Be careful, Mr. President. I think he is drunk.

30:58Hello?

30:59Hello, Dimitri.

31:00Listen, I can't hear too well.

31:01Do you suppose you could turn the music down just a little?

31:10You know how we've always talked about the possibility of something going wrong with the bomb.

31:17And indeed the movie does end in disaster.

31:20We are all going to die with this bomb that hurtles down in the last frames.

31:26But it finds something darkly comic, satirically hilarious out of that circumstance.

31:32And even more than the destruction out of the ideas that Strangelove himself articulates,

31:38where he says, well, we can live on in the nuclear bomb shelter underground.

31:41We'll be fine. And there will be however many women to each man.

31:44And that's even worse in a way than the horrors of destruction itself.

31:49These are ways of thinking about our own mortality,

31:52but also our collective mortality and what we're doing to the planet.

31:56And science fiction is uniquely well suited to doing that.

32:00One of the key texts here is also Neville shoots on the beach,

32:05which is a massive bestseller and actually does seem to have played,

32:10because of its bestseller status and the success of the Hollywood adaptation,

32:14a key role in developing an anti-nuclear movement.

32:18It helped with recruitment to CND.

32:20It has this kind of terrifying vision of the last people on Earth gathered in Australia,

32:27where there haven't been direct strikes,

32:29just waiting and waiting and waiting for the inevitability

32:32of the radioactive fallout and the clouds to reach them and wipe them out.

32:37And that is a shocking vision. It's still very effective.

32:41This is the end of it, is it?

32:43I mean, we just go on now, getting sicker till we die.

32:48I think that's the form, he said.

32:51He smiled at her.

32:53I've never done it before, but they say that's what happens.

32:57Is there any official estimate as to how much longer?

33:01The bigger heads, the finger in the wind boys, they say,

33:04calculating the rate of drift or what have you,

33:06about five months before it gets here.

33:11Then I suppose, when the time has come to say,

33:16it's been nice, Dwight Lyle.

33:20It's been everything.

33:24It's not the end of the world at all.

33:40It's only the end for us.

33:42The world will go on just the same.

33:45Only we shan't be in it.

33:47I dare say it will get along all right without us.

33:53Again, quite a profound existential movie about what you do

33:57when you know your time is limited.

33:59How do you live your life?

34:00What's the point of living your life?

34:02Herman Kahn, the US nuclear war strategist,

34:06may have been one of the greatest science fiction writers,

34:09as well as a nuclear strategist for the US government.

34:12Though he appeared to be writing factual books,

34:15Kahn's influence goes far beyond that of science fiction writers

34:19with his descriptions of nuclear war

34:21and the nature of atomic catastrophe.

34:24Author of the 1960 book on thermonuclear war,

34:29Herman Kahn was a primary influence

34:31on Sidney Lumet's film Failsafe

34:34and Stanley Kubrick's film Doctor Strangelove

34:37or How I Learned to Stop Worrying and Love the Bomb.

34:41In Doctor Strangelove, Herman Kahn is the basis

34:45for the characterisation of General Turgidson

34:48with his very visible nuclear war manual,

34:51World Targets in Megadeaths,

34:53and of Doctor Strangelove himself.

34:56A machine, you know.

34:57Deterrence is the art of producing in the mind of the enemy

35:01the fear to attack.

35:04I say every war, including thermonuclear war,

35:07must have a winner and a loser.

35:08Which would you rather be?

35:10in a nuclear war...

35:11Herman Kahn is portrayed in Failsafe by Walter Matar.

35:14It's still the resolution of economic and political conflict.

35:17Oh, what kind of resolution with a hundred million dead?

35:20It'll have to be a hundred million.

35:21Even sixty!

35:22The point is still who wins and who loses,

35:25the survival of a culture.

35:26Group six is now about 200 miles past Failsafe,

35:29Mr President, we still can't make contact.

35:31Once they're beyond a certain point,

35:33they're not to trust any verbal transmission.

35:38The US bomber cannot be recalled.

35:40The US President asked the pilot's wife to plead with him

35:44not to drop the bomb on Moscow.

35:46Jack, it's Helen.

35:47Do you recognize my voice?

35:48It's not a trick.

35:49It's me.

35:50Jack, you must turn back.

35:51You mustn't drop those bombs.

35:52Do you hear me?

35:53Is it really your wife?

35:54There's no war!

35:55No!

35:56I'm told that what we will hear at this end

35:57will be a high, shrill sound.

36:00That will be the ambassador's phone melting

36:02from the heat of the fireball.

36:03Is this your proposal?

36:04To sacrifice one American?

36:05No!

36:06No!

36:07No!

36:08No!

36:09No!

36:10No!

36:11No!

36:12No!

36:13No!

36:14No!

36:15No!

36:16No!

36:17No!

36:18No!

36:19No!

36:20No!

36:21No!

36:22No!

36:23No!

36:24No!

36:25No!

36:26Listen!

36:27I've ordered a Vindicator bomber

36:29into the air from Washington.

36:30In a few minutes,

36:31it will be flying over New York City.

36:33It is carrying two 20-megaton bombs.

36:36The moment I know that Moscow's been hit,

36:40I will order that plane to drop its bombs.

36:43When we hear the shriek of Mr. Lenthoff's phone melting,

36:48we will know that he is gone,

36:50Υπότιτλοι AUTHORWAVE

37:21I think people were almost stunned into a kind of sense of disbelief.

37:28I really think there was a level of anxiety which was so high, as I remember it, that it was almost unquantifiable.

37:37You had no concept of what it meant, what could happen, other than that it was going to mean the end of everything that you knew and held of any value.

37:48If you protest, if you think that death is a terrible thing, then you have not understood a word I have said.

37:59It is time for you to go home to your wives and children, and it is time for me to be dead for a little while, and then live again.

38:11It's not perhaps surprising that science fiction then becomes haunted with that prospect.

38:22Novel after novel, films, comic books, all thinking about the possible consequences of atomic warfare.

38:37And of a radioactive earth.

38:43Later films, like Threads, dealt with similar fears of annihilation, as did, perhaps most remarkably of all, The Day After,

38:59The most amusing description of civil defence came in the theatre review Beyond the Fringe.

39:22Jonathan Miller justifies the policy of nuclear deterrence as kill or be killed.

39:31Dudley Moore interjects, or both.

39:35Fear of the British public losing confidence in civil defence and nuclear deterrence

39:41were the main reasons Harold Wilson banned the BBC from broadcasting the war game.

39:47We are living in an atomic age.

39:52A fast sequence of firing.

39:56This is a tactical nuclear missile.

39:59It has a warhead equivalent to one Hiroshima bomb.

40:02Peter Watkins' film, The War Game, made a powerful cultural impact

40:07when it was banned by the BBC in October 1965.

40:11Prime Minister Harold Wilson had intervened to ensure that the film was not broadcast.

40:20He feared that the film would undermine the British public's commitment to civil defence.

40:26Details of the hazards to be expected from radioactive fallage.

40:30Morning madam, would you please read this booklet and carry out the instructions carefully.

40:33But, what is it?

40:34It's a civil defence booklet, your protection against nuclear attack.

40:39The BBC said that the effect of the film has been judged to be too horrifying for the medium of broadcasting.

40:50Soon afterwards, the war game was to win an Oscar.

40:53Due to radiation, this little boy has only half the requisite number of red blood corpuscles.

41:00He will be bedridden for seven years.

41:03Then, he will die.

41:05This happened at Hiroshima.

41:08This is nuclear war.

41:10People were beginning to say,

41:23what is the price of scientific technical advancement if, at the end of it all, there is nothing?

41:33Isaac Asimov, in 1950, published a novel called The Pebble in the Sky, which is interesting on many levels.

41:45It's an early Asimov text.

41:48It thinks about an irradiated planet, the consequences of that, of environmental destruction.

41:58It does so within the context of an isolated individual who has to contend with these poisonous forces of oppression, of a ruined earth, a desolate, irradiated landscape.

42:16That solitary loss and loneliness that seemed to Asimov very often to define a human condition.

42:28There never can be a man so lost as one who is lost in the vast and intricate corridors of his own lonely mind,

42:37where none may reach and none may save.

42:41From the first atomic explosion, in Robert Cromey's 1895 novel, The Crack of Doom, until 1945, nuclear weapons existed nowhere but in science fiction.

43:06And the imagination of those directly or indirectly influenced by this fiction.

43:11Including scientists who converted these inventions from fantasy into facts of life.

43:21All of us became aware of a giant flash that broke through the dark barrier of our arc welder's lenses and flooded our cabin with an intense light.

43:43Next, we saw a giant pillar of purple fire shooting skyward, the meteor coming from the earth instead of from outer space.

43:54The mushroom top was even more alive than the pillar, seething and boiling, and a white fury of creamy foam sizzling upward then descending earthward.

44:06I suppose there is no way of putting the mushroom cloud back into that nice shiny uranium sphere.

44:23And the moon when the new moon is under the moon.

44:26The Dedication of the air is treacherous.

44:28Theheard of the moon moon of the moon is very spacious.

44:29The moon is relatively spacious.

44:31The moon is completely outside and the earth is originally

44:37The moon is very spacious and beautiful.

44:41The moon is still in the center of the moon.

44:43The moon is also in the center of the moon.

44:46The moon is perfectly Kawami and the Moon is very spacious.

44:48The moon is amazing.

44:49There are a lot of people who have been in the center of the moon.