Info OVNI - Series 2 - No 05 - Soucoupes volantes - Science-fiction oct 1979

Magazine Overview

This issue of INFO OVNI, titled "INFO OVNI SOUCOUPES VOLANTES SCIENCE-FICTION," number 5, delves into the complex relationship between the UFO phenomenon and science fiction. The cover features a striking illustration of an astronaut on a lunar landscape gazing at a flying saucer, accompanied by the prominent title and the ISSN 0180 7102.

Analysis of Bertrand Méheust's Work

The central focus of this issue is a critical examination of Bertrand Méheust's book, "Science Fiction et Soucoupes Volantes." The authors commend Méheust for his extensive work in highlighting the remarkable coincidence between themes in pre-war science fiction literature and the characteristics of the UFO phenomenon. They acknowledge his first part, which meticulously details this correlation, citing examples like Jules Verne's "Robur le Conquérant" predating the 1897 American wave of sightings, and the presence of disc-shaped craft, their occupants, and their effects in 1930s science fiction literature.

However, the authors strongly critique Méheust's second part, where he analyzes this coincidence. They find his interpretations, particularly his dismissal of the idea that science fiction influenced UFO sightings (arguing it's inconceivable for remote populations to have read such works), to be too simplistic. Méheust's assertion that science fiction authors could not have accurately predicted UFOs, given their inability to correctly describe automobiles and airplanes, is also questioned. The authors express disagreement with Méheust's proposed solution, which they describe as a "psychophysical" phenomenon drawing from mental structures, including science fiction as a reflection, deeming it an "undemonstrable philosophical option."

Critique of Omissions: Cinema and Comics

A significant portion of the analysis is dedicated to Méheust's perceived omission of two crucial visual domains: cinema and comic strips. The authors argue that Méheust's approach is incomplete because UFO phenomena are predominantly visual, and these mediums are primary channels for visual expression. They contend that Méheust's focus solely on literature is inexplicable, especially given his own acknowledgment of the problem's visual aspect. The authors suggest that Méheust might have prioritized literature because it's easier to manipulate words than images.

Cinema and Science Fiction

The issue then proceeds to fill this gap by examining science fiction cinema. It notes that pre-war cinema was rare and largely favored fantasy films like "Frankenstein" and "Dracula" over pure science fiction, possibly due to the difficulty of special effects. Classic films like "Metropolis" (1926) and "La Fin du Monde" (1930) are discussed, with the authors pointing out their focus on social issues and future societal predictions rather than UFOs. Films like "High Treason" (1929) and "Things to Come" (1936) are highlighted as representative of the era, but importantly, they contain no elements related to UFO imagery. The flying craft depicted were modest extrapolations of existing technology, such as dirigibles and autogyros. The authors explicitly state that these films do not contain any UFO imagery, and that the "pre-Arnoldian" era of cinema did not feature disc-shaped flying objects.

Comic Strips and Science Fiction

The analysis extends to science fiction comic strips, noting their relative rarity before the war but acknowledging the existence of thousands of episodes. The authors identify "Buck Rogers 2429" (1929) as an early American science fiction comic, followed by "Brick Bradford" (1933) and "Flash Gordon" (1934). While "Brick Bradford" featured time travel and terrestrial adventures, its flying machines were described as baroque rockets with excessive superstructures and wings. "Flash Gordon," conversely, immediately embraced interplanetary science fiction, with its craft resembling those described by E.R. Burroughs. The authors emphasize that these "pre-Arnoldian" comics did not feature UFO imagery, with only a few exceptions showing craft that were a hybrid of saucers and funnels, or "aerogyres." This American trend is mirrored in European comics, such as Scolari's "Saturne Contre la Terre" (1936), which also lacked UFO imagery. The authors conclude that the "pre-Arnoldian" period in comics did not present UFOs, but the "post-Arnoldian" era became saturated with them, including disc-shaped craft, humanoids with large heads, and paralysis rays.

Post-Arnoldian UFO Imagery in Comics

Examples of "post-Arnoldian" comics featuring UFOs include "Pilote Tempête" (1953), "Jet Logan," and "Terres Jumelles." The album "Le Mystère des Soucoupes Volantes" by A. Weinberg is singled out as a synthesis of classic ufological cases. The authors reiterate that the "flying saucer" image is absent from the "pre-Arnoldian" period but is a constant in the "post-Arnoldian" era. They make two key observations: Firstly, contrary to Méheust's claim, the most frequent shape of pre-war flying craft was not a lentil or sphere, but rather an "obus" (shell) shape, similar to rockets, which is also a recurring motif in pre-war science fiction literature and has no equivalent in the UFO phenomenon. Secondly, while UFO imagery was recuperated by comic strips, it was often denatured. The authors argue that comic strip UFOs, for aesthetic reasons, were overloaded with accessories, deviating from the simpler, radially symmetrical forms of actual UFOs and imposing a directional aspect (front/rear) that is absent in the real phenomenon.

Recurring Themes and Editorial Stance

The issue adopts a critical stance towards Bertrand Méheust's analysis, arguing for a more comprehensive approach that includes visual media. The recurring theme is the historical development and representation of flying craft and UFOs in popular culture, contrasting pre-war and post-war depictions. The editorial stance clearly favors a scientific and concrete approach to understanding the UFO phenomenon, suggesting that the coincidence between UFOs and science fiction is indeed real but requires a broader scope of analysis than Méheust provided. The authors aim to develop an "antithesis" to Méheust's thesis by demonstrating the lack of UFO imagery in early cinema and comics, and how later depictions were often stylized and distorted.

Conclusion

The authors conclude that the imagery of UFOs is virtually non-existent in pre-war cinema and comic strips, posing the question of its exact place in the science fiction literature of that era. They highlight the importance of understanding the frequency of "pre-ufological" elements in early 20th-century literature. The issue emphasizes that the "flying saucer" image is a product of the "post-Arnoldian" period and that its representation in popular culture, particularly in comic strips, has often been a denatured version of the phenomenon itself.

This document, identified as issue number 10 of volume 2, is a French-language article titled "LA FREQUENCE DU THEME" (The Frequency of the Theme). It critically examines the presence and frequency of UFO (Unidentified Flying Object) themes and imagery in science fiction literature, particularly focusing on the period before World War II. The article questions the assertion that UFO-related concepts were a consistent and prevalent element in early science fiction, as proposed by some authors.

Analysis of UFO Themes in Pre-War Science Fiction

The article begins by acknowledging the difficulty in rigorously assessing the frequency of UFO themes in pre-war science fiction due to the vastness of literature and the elastic definition of the genre. It notes that themes resembling UFOs can be found in various adventure and detective stories, not just science fiction.

To address the question, the author proposes a two-pronged approach: a general overview and a specific case study. The general approach categorizes science fiction into three main genres: Heroic Fantasy, Prospective/Political Fiction, and Classic Science Fiction. Heroic Fantasy, exemplified by E.R. Burroughs and Howards, is characterized by epic adventures and magic, lacking any UFO imagery. Prospective/Political Fiction, like A. Burgess's 'A Clockwork Orange,' focuses on future societal issues and also does not feature UFOs. The author identifies Classic Science Fiction, ranging from space operas to masterpieces, as the most likely area to find UFO-related themes.

According to specialists like Jacques Goimard, Demètre Ioakimidis, and Gérard Klein, Classic Science Fiction can be divided into twelve major themes. Among these, the theme of 'Extraterrestrials' is identified as the most relevant for developing situations comparable to the UFO phenomenon. However, the article emphasizes that even within this theme, encounters can occur on other planets, in space, or on Earth. The focus for this analysis is on Earth encounters, particularly the 'invasion' scenario.

The article asserts that while the theme of extraterrestrial arrival on Earth is a classic in science fiction, it often serves as a pretext to explore human behavior in exceptional situations rather than being the primary focus.

The Rarity of UFO Imagery in Early Science Fiction

The author contends that in pre-war science fiction, the theme of extraterrestrial arrival on Earth was rarely used. Instead, the more common theme was the arrival of Earthlings on other planets, the inverse of the current UFO phenomenon. Exceptions are few, such as Moselli's "Le Messager de la Planète." When extraterrestrials did appear, they were often depicted as monstrous or animalistic creatures (pseudo-octopus or insect-like) and their effects were spectacular and destructive, bearing little resemblance to contemporary UFO phenomena.

In contrast, the article notes that "post-arnoldian" science fiction is replete with flying saucers and Martians. This leads the author to suggest that authors of science fiction were incapable of creating UFO-like structures solely from their imagination; they relied on existing narratives when the phenomenon became real. This is contrasted with H.G. Wells' "The War of the Worlds," which, despite its alien invasion theme, features projectiles falling from the sky and octopus-like creatures, but lacks any resemblance to the modern UFO phenomenon.

Case Study: "La Fin d'Illa" by José Moselli

The article then delves into a specific case study, "La Fin d'Illa" by José Moselli, published in 1925. The author argues that this work, often cited as containing UFO-like imagery, actually describes dirigibles or helicopters, not archetypal flying saucers. While Moselli's "flying shells" exhibit some superficial similarities to UFOs (e.g., erratic movements, luminous beams), a closer reading reveals that these are functional descriptions of advanced aircraft of the era. The "flying shells" are described as lenticular vehicles with internal propellers and a pilot's seat, powered by an electric motor. The luminous beams are explained as ordinary searchlights used for tracking fugitives at night, a common practice for police and military forces.

The author criticizes authors like Méheust for selectively quoting passages to support their claims of pre-existing UFO archetypes, ignoring the full context of the narrative. The article suggests that the perceived coincidences are either fabricated or are simply a result of science fiction's nature to explore all imaginative possibilities, including those that might later resemble real-world phenomena.

Conclusion and Editorial Stance

The article concludes that while rare similarities can be found, they are often exaggerated or presented out of context. The author argues that the apparent coincidences between early science fiction and the UFO phenomenon are illusory and artificially constructed to support a particular thesis. The article posits that the nature of science fiction is to explore the imaginative, and it was inevitable that some descriptions would eventually resemble aspects of the UFO phenomenon. However, this does not constitute proof of a pre-existing, universal UFO archetype in the human psyche. The author suggests that the real UFO phenomenon, unlike fictional representations, operates outside the realm of risk and is characterized by absolute security, a stark contrast to the precariousness of fictional flying machines.

Recurring Themes and Editorial Stance

The recurring theme is the critical analysis of alleged UFO archetypes in pre-war science fiction literature. The editorial stance is skeptical, arguing that perceived similarities are often the result of selective interpretation, misrepresentation of context, and the inherent imaginative scope of science fiction rather than evidence of a pre-existing UFO archetype. The article champions a rigorous, contextual approach to literary analysis, contrasting it with what it terms Méheust's selective and fabricated approach to finding UFO connections.

This issue of "Le Monde Inexpliqué" (The Unexplained World) delves into the historical context of the 1897 UFO wave, challenging conventional explanations and proposing a strong link between contemporary aeronautical advancements, science fiction, and witness reports. The central thesis is that the perceived "UFOs" of 1897 were not manifestations of unknown intelligence or archetypal mental structures, but rather a product of a public psyche saturated with information about burgeoning aerial technology and imaginative literature.

The "Robur le Conquérant" Coincidence

The article begins by scrutinizing the work of author Méheust, who suggested a "coincidence" between the 1897 American UFO wave and Jules Verne's 1886 novel "Robur le Conquérant." Méheust posits that the aerial craft described by witnesses bore striking resemblances to Verne's fictional creations, implying an impossible level of inspiration from Verne's work to the witnesses. The author of this article questions this premise, highlighting that Verne's novel was translated and widely available, making direct inspiration plausible, and further questioning why only farmers would be inspired and not others.

The author of the article argues that Méheust's analysis is flawed, suggesting that Verne himself was not an original thinker but a compiler of existing scientific and technical ideas. The article points to specific examples, such as the "Albatros" from "Robur le Conquérant," which is described as a "heavier-than-air" craft with propellers and multiple rotors. This description is directly compared to Sir George Cayley's 1843 designs for an aerial machine. Similarly, the "Albatros" is likened to the "L'Espérance" dirigible built by E. Delamarne and G. Yon in 1865. The article concludes that Verne was more of a "fabricant de rêve" (manufacturer of dreams) than an originator, often copying and adapting existing concepts without proper attribution.

The "Explosive Coincidence" or "Damp Squib"?

The article questions whether the 1897 wave was a genuine phenomenon or a manufactured event. It suggests that Jules Verne, far from being an imaginative genius, was a "vulgaire plumitif" (common scribbler) lacking scientific culture. His works are characterized as being filled with scientific jargon to mask a lack of originality, drawing heavily from contemporary technical achievements and projects. The author cites an example from "20,000 Leagues Under the Seas," where Professor Aronnax makes a scientifically dubious claim about seeing octopus skeletons in museums, as evidence of Verne's flawed understanding.

The core of the argument is that Verne's "Albatros" was not an invention but a copy of contemporary designs. The article details the specifications of the Albatros and compares them to Cayley's 1843 apparatus and the "L'Espérance" dirigible. It asserts that Verne failed to cite Cayley correctly when discussing aerial navigation history. The article further posits that Verne's ideas were not unique, as evidenced by projects like Gabriel de La Landelle's aerial ship concept, which predated "Robur le Conquérant."

Information Saturation

The 19th century witnessed an intense fascination with aerial navigation, with hundreds of projects and attempts documented in journals and popular science publications. The article argues that the public, particularly in America, was immersed in a "psychosis" of aerial conquest, constantly anticipating a groundbreaking flying machine. This widespread information and expectation, it contends, created an environment ripe for misinterpretation and the fabrication of sightings.

The 1897 Wave and Aerostatic News

The issue emphasizes that the 1897 UFO wave cannot be analyzed in isolation from the contemporary news surrounding aerostatic achievements. It suggests that the "witnesses" of 1897 may have been influenced not by archetypes but by the actual news of the time. The article highlights that the public was aware of the potential for aerial travel, and the 1897 wave occurred during a period of intense anticipation for such events. It criticizes ufologists like Ted Bloecher and Jerome Clarck for focusing solely on UFO reports without considering the vast amount of information available on contemporary aeronautical exploits.

The Electro-Substractor and Other Precursors

The article then shifts to discuss specific historical inventions that may have influenced perceptions of aerial phenomena. It introduces the "Electro-Substracteur" project by Dupuis-Delcourt in 1836. This device was intended to be a captive aerostat designed to collect atmospheric electricity. While the project ultimately failed to take off, the concept of a large, metallic sphere in the air was a significant visual event for Parisians in 1843. The author argues that such events, far from being mere archetypes, had a considerable impact on public imagination and influenced subsequent "future testimonies."

Other historical examples are presented, including Giffard's giant balloon in 1878, and the Faure and Graffigny project in 1889, which proposed an interplanetary balloon propelled by solar radiation, featuring a spherical shape with an equatorial ring that resembles UFOs observed in 1952. The author suggests that these concrete technological realizations preceded and provided a reservoir of inspiration for science fiction writers and, consequently, for UFO reports.

Conclusions

The article concludes that Méheust's work, while perhaps limited, served as a catalyst for a deeper investigation. The authors establish several key points:

A/ The coincidences between flying saucers and science fiction become "evident" only when one selectively chooses elements from both to support a predetermined thesis, ignoring contradictory data.

B/ "Creations" in science fiction, whether they coincide with later UFO phenomena or not, do not originate from abstract "mental archetypes" but from concrete, preceding technological and scientific achievements.

C/ UFO testimonies, which are always posterior to science fiction containing similar elements, are also always posterior to actual human technological realizations.

The 1897 Wave: A Journalistic Invention?

The issue then revisits the 1897 wave, presenting several alternatives for its origin:

a/ The wave, known only through press clippings, might be a journalistic invention based on rumors, with several elements supporting this idea.

b/ Some testimonies could have been prompted by real, albeit failed, attempts at aerial conquest, where inventors disappeared, a plausible scenario given the vastness of territories like the United States and the risks involved (e.g., the death of E.D. Hogan in 1889).

c/ Natural phenomena, not recognized at the time, could have been misinterpreted and "assigned" to the context of the prevailing aerial conquest craze, leading to mistaken identifications.

d/ A non-human intelligence might have appeared, with witnesses describing it based on their knowledge or imagination of possible flying apparatus.

e/ A non-human, "mimetic" intelligence could have intentionally appeared in a form consistent with the technology of the era.

The authors leave the choice to the reader, but their post-scriptum reiterates that, in terms of appearances, human technological realizations have always preceded UFO-type manifestations.

The Inhabitants of Ki Kouang

In a separate section, the article explores ancient Chinese texts, specifically the "Chan Mai King" from the Han Dynasty (206 BCE - 220 CE). This text describes the inhabitants of the "Ki Kouang" kingdom, who had a single arm, three eyes, and traveled in "flying gondolas." These flying vehicles are depicted as box-like or gondola-shaped, sometimes with small wings, and propelled by wheels with side fins. The author finds this iconography remarkable, especially since the technology of water wheels (which could explain the propulsion) was not known in China in its definitive form until the first century CE in the West, and only appeared in rudimentary horizontal forms in China by the third century CE. The article questions how the ancient Chinese could have plausibly represented such a propulsion system if they were unaware of its function, suggesting it was not merely a product of imagination but perhaps an observation of something real.

Recurring Themes and Editorial Stance

The recurring theme throughout this issue is the critical re-evaluation of UFO phenomena through the lens of historical technological development and popular culture. The editorial stance is strongly skeptical of supernatural or purely psychological explanations for UFO sightings. Instead, it advocates for a grounded, historical approach, emphasizing that human ingenuity and technological progress have consistently preceded and influenced our perceptions of the unknown, including alleged UFO encounters. The article champions the idea that many UFO reports can be explained as misinterpretations of contemporary inventions, fictional narratives, or natural phenomena, rather than evidence of extraterrestrial visitation. The exploration of ancient Chinese texts suggests that the human fascination with and observation of aerial phenomena, and the subsequent attempts to explain them, have a long and complex history predating modern UFOlogy.

This issue of the "Revue d'Histoire des Sciences et des Techniques" (Review of the History of Science and Technology), dated October 1979, from Montluçon, France, focuses on the historical development of the paddle wheel, with a particular emphasis on the "noria" and early forms of water-powered machinery. The cover highlights "LA ROUE A AUBES" (The paddle wheel) and its technological precedent, the noria.

The Noria and Early Water Wheels

The article "NOTE HISTORIQUE SUR LA ROUE A AUBES. UN PRECEDENT TECHNOLOGIQUE : LA NORIA" details the historical significance of the noria. These devices, composed of a chain of buckets, were used to lift water and were powered by natural forces like river currents or by human and animal labor. They were in use in the Mediterranean region during the late centuries BCE.

Horizontal Water Wheels

The text posits that the noria likely led to the invention of the hydraulic mill. The "LES ROUES MOTRICES HORIZONTALES" section explains that the Greeks are credited with constructing the earliest hydraulic mills. These mills featured a horizontal drive wheel placed in a water channel. While rudimentary, this design allowed for the operation of machinery, such as grain grinding stones. It is suggested that these horizontal water wheels first appeared in the 1st or 2nd century BCE in the Near East and subsequently spread to Greece and Italy, with independent invention also possible. Evidence of their use in Denmark dates to the early centuries CE, and in China from the 3rd century CE.

These early horizontal water wheels were typically small, suitable for powering domestic-sized grinding stones. The article notes that early constructors may have experimented with angling the paddles for better efficiency and directing water flow onto them.

Vertical Water Wheels

The "LES ROUES MOTRICES VERTICALES" section discusses the development of the vertical water wheel, which emerged shortly after the horizontal type. Its origins are thought to be Italian or Hellenistic. While potentially existing in the early centuries CE, the vertical water wheel achieved widespread use and sophistication between the 10th and 12th centuries CE. The dramatic increase in their numbers is illustrated by the fact that in the 6th century CE, there were fewer than a dozen hydraulic wheels in all of Gaul, whereas by the end of the 11th century CE, England alone had 5,624.

Speculative Connections to Non-Human Technology

The introductory section of the magazine presents a more speculative and intriguing perspective, linking historical technological developments to potential extraterrestrial or ancient advanced civilizations. It suggests that if ancient Chinese texts describe certain aerial devices, it might be because they actually observed them. The text then introduces the "TOUT PREMIER ESSAI DE BALLON DIRIGEABLE" (first attempt at a dirigible balloon) by Monsieur de Testu Brissy in 1785. This airship featured a gondola equipped with paddle wheels on the sides, intended for propulsion and steering. The author draws a parallel between these early "flying gondolas" and similar concepts from two millennia prior, posing a question about mysterious and identical human thought processes that could suggest the intrusion of non-human technology into our past environment.

Recurring Themes and Editorial Stance

The issue's editorial stance appears to be one that bridges rigorous historical inquiry into technological development with a more open-minded exploration of anomalous phenomena and historical mysteries. While the core of the content is dedicated to the factual history of water wheels and mechanical engineering, the introductory and concluding remarks hint at a fascination with unexplained phenomena and the possibility of advanced, non-human technologies influencing human history. The magazine encourages readers to ponder these connections and the implications for our understanding of the past and human intellect.