Dark as Day by Charles Sheffield

screen in front of her. She could process the cell that she had just loaded in endless different ways. It came in as a long string of binary digits, anything from a million to billions of 1’s and 0’s. She could transform that to any number base, introduce any breaks that she liked, look for repeating strings, present the data factored into two- or three-dimensional arrays, transform the results to polar or cylindrical or any other orthogonal set of coordinates, examine the Fourier transforms and power spectra of the result, cross-correlate any section with any other, compute the sequence or image entropy, seek size or shape invariants, and display any or all of those results in a wide variety of formats. In the first few days she had developed her own preferred suite of processes, with a shell of operations to run their sequence automatically. All she had to do was sit, observe the results, and allow her imagination to run free in its search for oddities, or—there was always hope— meaningful patterns.
    While she worked, spectral figures from the past wandered through Milly’s mind. They were her heroes and heroines. Here was Thomas Young, the universally gifted nineteenth-century Englishman who moved so easily from medicine to physics to linguistics. He had taken the multi-language inscriptions on the Rosetta Stone to gain a first handle on interpreting Egyptian hieroglyphics. The polymath Young had dismissed his work casually, as “the amusement of a few leisure hours.” Here was the Frenchman, Jean-François Champollion, finishing the work that Young had begun, and writing his book on the subject that had so fascinated Milly at seventeen—the same age at which Champollion had been made a full professor at Grenoble.
    A century later than Champollion, the quiet American classicist Alice Kober had patiently begun to unravel the mysteries of the Cretan language, Linear B, work that after her early death was completed by Michael Ventris and John Chadwick. By Chadwick’s side, as a fellow worker at an English classified facility during wartime, stood the enigmatic and tragic figure of Alan Turing. Turing, with his rumpled clothes, dirty nails, and unshaven face, had been a nonpareil cryptanalyst, as well as the godfather of all the computers that now surrounded Milly. His life had ended with the suicide that Hannah Krauss warned of for workers in cryptanalysis. Behind Turing, a century earlier, stood another computer godfather, Charles Babbage, himself a noted cryptanalyst who had cracked the “unbreakable” Vigenère cipher and who straddled the line between genius and eccentricity.
    The godmother for Milly’s own field, the interpretation of signals from the stars, had been born a generation later than Turing. Jocelyn Bell, when she was no older than Milly herself, sat alone day after day and night after night studying radio telescope signals, until one day she came across curious repeating patterns of electronic noise that she had named “scruff.” For a time, Jocelyn Bell and her research supervisor believed that what she had found was what Milly now longed so desperately to see: synthetic signals from far across the galaxy, sent by intelligent beings. They even—in private if not in public—called them “LGM objects,” the initials standing for Little Green Men. Jocelyn Bell’s actual discovery, of natural signals sent out by the rapidly rotating neutron stars known as pulsars, was a great surprise and a great event in the history of astrophysics; but it must also have been, in some ways, a disappointment.
    And that, Milly reflected, was both the promise and the curse of SETI. If you did discover a pattern, the odds were long against it being what you hoped. Far more likely, you had accidentally come across a natural phenomenon. Nature had a thousand ways of producing a signal with some repeating pattern. Almost everything in space—planets, moons, stars, galaxies—rotated, and each had its own