Posts Tagged ‘future’

Science Fantasy

mpayne

an essay by Matthew Payne

I’ve always been in love with science. I read science magazines when I was a kid and I am always thrilled by new discoveries or new technologies. But I only started reading science-fiction a couple years ago, because most popular science fiction has very little to do with real science or scientific ideas. Don’t get me wrong, I love Star Trek and Star Wars, but there’s very little in the way of real science there. I love them because they’re good stories with compelling characters, not because the science is stimulating. So they didn’t compel me to seek out more “science fiction.”

When I finally did start reading science fiction, I saw that the best stuff was not made of what we understand the genre to be. We tend to think of science-fiction as a story set in the future, but real sci-fi fans know better. I want to do something now to clarify the differences and maybe open up some new ground for curious book-lovers. I want to show you the mind-bending glories of a plot based on a scientific idea; the curiosity and paranoia of speculative fiction which can bring current issues and age-old questions into the light of a different context; and also the dizzying aesthetic panoramas of a regular good story set in the future. But mostly, I want to show curious readers that there is so much more to science fiction than just spaceships and lasers.

So I will try to show some examples from some sub-genres of sci-fi. These aren’t my categories: they already exist, and I’ve heard different ideas about what constitutes each pseudo-sub-genre. I’ll describe them as I see them, with examples that will often amount to a miniature book-review. There are spoilers in here, and I might ruin some good books for you, so be careful.

jurassic

I’ll start with my favorite, and the most rare style of sci-fi: the plot based on a scientific idea. This is the playground where most hard science-fiction plays. It can be a simple enough idea, like in Michael Crichton’s Jurassic Park where they clone dinosaurs and the dinosaurs eat people. We’re all familiar enough with the movie, which did a good job at portraying the book (probably because Crichton wrote the screenplay). The plot is based on the idea that genes (DNA) naturally create life, and thus we can manipulate them into creating life. Scientists in the story found old dinosaur genes and created a favorable environment for them to grow living dinosaurs. The action of the story involved people trying to avoid getting eaten by the giant monsters, but without the science aspect there would have been no dinosaurs and no action. Jurassic Park has a plot based on a scientific idea, and for me that means that it is just as sci-fi as Star Trek.

But Jurassic Park is not what I’d call “hard” science fiction, because the science-part pretty much ends once the dinosaurs are alive. All you need to do is accept that cloning might be possible in this fictional world, and proceed to be afraid of dinosaurs. I admit that the book is much closer to being hard science-fiction than the movie, with occasional discussions about ideas and deeper descriptions about the mecahnics of genetic science, but when I compare it to the work of Greg Egan, I can’t justify calling Jurassic Park “hard sci-fi.”

Greg Egan is the man who showed me the brightest possibilities in true science-fiction. He is one of my favorite writers, and I’m always shocked (genuinely shocked) by the new places his sci-fi can take me. I’ve only read three of his books, but they are three of my favourite books. The basic plots of his books are based on complex scientific ideas, the action itself is a constant interplay of theoretical physics and software-fiction, and his characters themselves are often based on scientific ideas. It all seems very abstract when I describe it like that, but the characters are very compelling and the conflicts, while strange, dig right into your heart. The evocative stories carry on at a fast pace, the biggest page-turners I have ever read. He is a master storyteller.

To summarize the plot of his 2003 novel, Schild’s Ladder, in one sentence, I could say that “a new type of physics is eating up the universe, expanding at half the speed of light, and futuristic scientists are trying to find out how the human race can survive it.”

The novel is set twenty-thousand years in the future, when science has discovered much more about physics. According to the science of Egan’s fictional world, the vacuum of space and the particles within it are just one type of possible vacuum that can exist in the so-called “universe.” But one scientist has created an experimental new kind of physics, a new kind of vacuum, which is stronger than the current one which gave rise to stars, planets, and life. This new vacuum, called the “novo-vacuum” starts expanding as a huge ball, moving at half the speed of light, eating everything in its way (including space itself).

schild's ladder

That’s a pretty cool plot by itself, but Egan adds crazier elements to the story. People are no longer flesh-humans, nor are they part-robot or anything like that. They can choose to take flesh-forms, they can choose to inhabit robots, they can live as independent software floating around with no computer (“incorporeals”), and they can transmit themselves across the galaxy at the speed of light. This creates interesting conflicts between characters, and a new context for the strange new-physics problem facing all the “people” of the galaxy. A lot of the conflict is based around characters arguing whether to try to stop the new physics, or try to study it and adapt to it. Egan gets philosophical about this point. It might seem silly to get philosophical about a problem that’s probably impossible, but it is also a metaphor about being brave and pursuing new things.

As you can imagine, the action of the story requires methodical descriptions of the behaviour of particles and software. This makes for reading that is simultaneously very dry and imaginative, while the concerns and welfare of the characters keep the reader extra-interested. It is very well done. I won’t tell you how it ends.

If that seems too far-out for you, then I won’t even begin to describe the multi-dimensional meanderings of the software-people in Egan’s Diaspora, or how the regular human main-character in Quarantine has to navigate through devastatingly limitless possible quantum outcomes to every situation in an attempt to save humanity from insanity.

And that brings me to Star Wars, where Jedi-magic is just as important to the plot as any kind of technology, and scientific ideas are simply absent.

I was once at a comic-book convention and I asked a comic-book vendor if he knew of any good science-fiction comics, because I’ve been looking for a good one for a while. He said, “I have lots of Star Wars comics.”

I said, “Star Wars is more fantasy than science fiction. What else do you have?”

He frowned at me, then he looked at my friend and said, “He’s lucky there’s a table between us right now.” After that he refused to talk to me.

Star Wars belongs in fantasy just as much as it belongs in sci-fi, because the Jedi knights are wizard-warriors. There is no offer of a scientific explanation for their abilities to move objects with their minds, or any of the amazing and impossible fighting moves they do. It’s magic. They are wizards. I had a friend say, “No, it’s not magic. It’s just mind-over-matter! It’s like Buddhism.” Well, I’m sorry but if there was a story about Buddhists using telekinesis, then that story would be fantasy, because telekinesis is magic, and it’s not real.

I had someone tell me that “cyber-punk” was a sub-genre of science fiction where there is lots of technology, but the stories are usually gritty and tough. Star Wars can fall into that category, because it’s a fairly gritty epic-adventure with spaceships and laser-swords.

I have certainly relented from my previous stance that Star Wars is not science-fiction, but when I think about Greg Egan or Michael Crichton, men who have their heads right inside a science text-book, I just can’t put Star Wars in the same category. Instead it is the perfect blend of sci-fi elements with fantasy, for a truly imaginative adventure story.

Keep in mind that this is merely an organizational matter, a matter of categorization. This has nothing to do with the quality of the work. I’m a big fan of the first three Star Wars movies, and I believe that the world needs more laser-sword battles. But it stimulates a different part of my mind than the stories that I consider scientifically imaginative.

Then there is Christopher Priest. I’ve read several of his books, and they are always mind-bending soul-wrenchers. Priest is great because he intentionally messes around with the reader, using the perspective of the characters to submerse you into his surreal yet very tangible worlds.

The whole plot and world of Priest’s surreal sci-fi classic, The Inverted World, are basically a philosophical statement with a scientific explanation. The characters all live in a city which is moving on tracks. They have to work together to pick up the tracks behind the city and lay them down in front of the city every day. At first, you don’t know why they’re doing this. The main character is just a kid at first, and he doesn’t understand the city, and the reader only knows what the character knows.

invertedworld

The city-dwellers have a name for the areas they already passed through. They call it “the past.” The area ahead of them, where they plan to lay new tracks, is called “the future.” It seems like a stupid and pointless activity at first, desperately picking up and laying down tracks, but then the main character travels into “the past” by simply walking back to where the city has already been, and he finds that all the old mountains and trees have gotten smaller and smaller. The further back he goes, the smaller the trees and mountains get, and gravity eventually threatens to pull him vertically into the infinite and flat “past.” When he travels into “the future,” walking ahead of the slowly-moving city, he finds that everything gets bigger and bigger until he can’t even step over pebbles, and gravity won’t let him walk any further forward. To make it worse, the future and the past are always moving forwards. If the city stops moving, it will shrink into “the past,” and gravity will pull it off the flat landscape and supposedly into oblivion.

Beautifully strange as it is, the city-dwellers have a scientific explanation for this gorgeous and terrifying world they live in. They say that instead of living on a finite planet in an infinite universe (like our finite Earth in our infinite universe), these people live on an infinite planet within a finite universe. They think that their planet is a rotating parabola, but only part of it is ever within the finite universe, and the city has to keep moving to stay within the universe, and to keep existing.

As a metaphor, he is referring to our perspective of the future looming huge above us, and our dwindling memories of our disappearing past. Also, our seemingly innate instinct to keep moving, almost desparately towards the future, terrified of what would happen if we stopped.

As science-fiction, the idea of an infinite planet moving through a finite universe is really cool and interesting. Christopher Priest is often a dark and paranoid writer, but the action is equally colorful and imaginative.

So I’ve spoiled a lot of the fun surprise of The Inverted World for anyone who might read it (and the surprise of discovery is the biggest part of the fun of reading Christopher Priest), but you can still read The Affirmation if you want to get mind-fucked, or Darkening Island if you want to get depressed and scared. They are less sci-fi, but awesome stories. Indoctrinaire is another great book by Priest, and it is probably the most surreal of all his books that I’ve read.

Actually, you are probably familiar with his work already. His book, The Prestige, was made into a movie of the same name. It had a lot of the same lineup as Dark Knight, including Christian Bale and Michael Caine in the cast, and the amazing Nolan brothers writing and directing it.

Now for Star Trek.

Star Trek beats Star Wars for sci-fi categorization because there is no magic. They at least pretend that things like replicators and transporters are genuine inventions of technology, plausible within our own regular physics. For me Star Trek in all its forms is in the same genre as Isaac Asimov’s Foundation series. It’s social-science-fiction, using a futuristic setting to demonstrate ideas about humanity, rather than scientific ideas.

Asimov’s Foundation stories were mainly political stories, showing the development of humanity as empires ebbed and flowed throughout the galaxy. Star Trek used an episodic style to show the noble Star Fleet officers giving help and wisdom to other life-forms. The humans in Star Trek have overcome war and financial inequality through the use of technology to make everyone comfortable and relatively safe. Some episodes have sci-fi plots, like in The Next Generation, when Star Fleet wants to dissemble the android Data. He has no actual feelings or legal rights, but the crew of The Enterprise have grown fond of him and they want to keep him, and so there is a court battle about why humans deserve rights and robots don’t. I don’t think this idea is really socially relevant yet, but it might be some day. Also, science considers humans to be merely biological robots, so the legal rights of androids is a silly question that actually sheds light onto the question of what it means to be human.

For the most part, the science of Star Trek isn’t very scientific. The aliens they meet always seem to look like humans with makeup on their faces, and the scientific understanding of natural selection seems to suggest that it’s really unlikely that there would be aliens so very similar to us. In fact, there is sometimes breeding between different species (like Worf’s half-human, half-klingon son Alexander), which must suggest that other aliens use the same kind of DNA as humans, with the same six molecules, and that they have a genome so close to our own that we can breed with them.

star-trek

That being said, I love Star Trek: The Next Generation more than Star Wars or any other sci-fi, maybe even including Egan and Priest. It’s true that it’s a corny television show, but I love it because the characters are noble and curious, the episodes have a lot of (often naïve) social wisdom, and the Enterprise just seems like an awesome place to live. Of course, Captain Picard is the most noble of them all, jolly and witty in good times; deadly serious, sharp and disciplined in the tough times.

So Star Trek is a great show, but not hard science-fiction. It is a story set in the future, and the characters could just as well be on a ship exploring the ocean in the past, and not much would be lost for the viewer. The sci-fi element is mostly an aesthetic choice. Plus, it allows us to hope for this as a possible version of “the future.”

I wanted to discuss the films The Matrix, Gattaca, and especially Terminator II: Judgement Day, but I think I’ve vaguely categorized enough for now. I’ll leave them floating among the sci-fi mists.

This short multi-review does not describe the whole massive genre of science fiction; it doesn’t even come close. But I hope that I’ve expanded your image of the genre beyond the typical low-quality space-opera conception/prejudice.

As a final note, sci-fi often refers to “alternate dimensions,” and the authors treat it like moving to a different universe similar to our own but different. They mistake the idea of dimensions. We live in three-dimensional space, and the real theoretical idea is that the fourth dimension is time. Greg Egan plays with this idea in Diaspora, but you can get a really cool description of the actual (theoretical) idea on Youtube. Check out the video embedded below. It’s part one of two. The second part should be available at the end.

Robo Planet Game part 5


mpayne

by Matthew Payne

Read part 4

They traded sword-blows, blocking and slicing and stabbing. Ruxto made contact, slicing into the tin of the robot’s chest. Then he pulled his sword out with a wrenching sound and started shooting it in the head with his laser. The robot’s head melted and smoked and it stumbled backwards against the black metal of the fan-building, clanking metal on metal as it slumped to the ground. It was so easy that Ruxto wished there were three more.

There was a door in the wall, and Ruxto went to it. There was a handle, and he pulled it open.

On the inside the fan-building was a factory, even though the air tasted extra-fresh and pleasantly cool. Grinding noises were overpowered by an ear-numbing humming-sound. There was also a regular smashing sound, like rocks getting crushed with a giant hammer. Ruxto stood on a red-clay floor and looked up at the black machinery. Giant gears turned slowly, some connected by the ruts in the gears, others by the axles running between them. There were conveyor belts carrying rocks and dirt across the giant room. Far back and up above, Ruxto saw a giant funnel which was dropping rocks onto one conveyor belt into a machine that seemed to be smashing them up into dirt. Even higher, in the center of the room, there was the machine the crushed-dirt was fed into. This machine had a huge compartment, and steam billowed out through a hole in the top. That steam quickly turned small turbines, which were connected to gears that slowly turned the giant fan. The only light was from between those blades, so shadows and visibility were in constant shift, making the factory look more alive than it really was. The fan-blades were half as long as football fields.

Ruxto could see the giant fan all the way up at the top and front of the building. The arms of the fan turned slowly, and giant slots of dying daylight turned around between them.

“It’s converting rocks into air,” Ruxto mumbled.

Because of the density, he assumed it would only take a little bit of rocks to make a lot of air, but it would take a gigantic amount of air to fill a planet.

Where was it getting the rocks? And where was the water he’d been promised? He started wandering around the automated factory, keeping his eyes open for more danger. In the sketchy-moving light and the overpowering noise, it would be easy for someone or something to sneak up on Ruxto and make him restart his mission again.

He wandered between mechanisms that moved, but which he didn’t understand. He didn’t touch anything.

Near the back of the building Ruxto learned how the factory got its rocks and dirt.

There was a small door in the back and Ruxto saw a little yellow robot drive drive in from the desert. It was a simple robot, just a platform on four black wheels with a small bucket on top. The bucket was on hinges and was full of dirt and pebbles and sand. It drove into the building and went over to a hole in the floor (the hole was lined with a metal frame), then it turned its bucket on its hinges and dropped the dirt-load into the hole. Less than a meter away, the dirt emerged from beneath the ground in another bucket which was attached to a conveyor belt. The new bucket dropped the dirt onto another conveyor belt, and the load was on its way to getting converted into air.

The robot drove away but already there was another one coming in with more dirt.

Ruxto spoke to himself. “This is genius. Little worker-robots bringing materials to the factory. But how do they load themselves up with new dirt? They don’t have hands or a shovel.”

Then he realized that there must be another type of robot outside somewhere which filled up these little robots. It was a functioning robot-society, and it wasn’t even built by humans. Thousands of years ago humans built the seed-robots to terraform other planets, but the humans also programmed the seeds to experiment with their own new children-seed-prototypes. This factory was part of a functioning robot-society, working apparently without consciousness in a slightly misguided attempt to benefit the human race. He was amazed. The robots had learned to convert things to their basic atomic structures and then rebuild them into whatever material they wanted (air, water, human flesh). They had learned to make new types of robots which could work independently or as part of a team. They had built a planet-sized game which seemed to be relatively safe against objective dangers… though it was a huge inconvenience and it had unwittingly murdered Ruxto’s ship-mates.

More little robots came in until finally Ruxto grabbed one on its way out. The wheels kept spinning in the air for a while, then they stopped. They must have registered a lack of friction. More amazing programming. Ruxto had always enoyed beautiful creations and the genius of subtleties, but when he came to this universe and discovered computers and technology his mind had stretched in its definitions of creation and building.

There was a blue light at the front of the robot, and Ruxto stared into it. Was this light the robot’s eye? As he looked right into it, he felt awe and wonder, and a silly feeling of companionship and almost affection.

On the back of the robot there was a switch. There were six options for the switch to be turned to: Mining Site One; Mining Site Two; Mining Site Three; Bio-Dome/Animals; Bio-Dome/Shuttle; Mysterious Destination. These must be where the robot was programmed to go, so whichever option was selected was where the robot would go… and Ruxto could follow.

Ruxto set his eyes intently on the one that said, “Bio-Dome/Shuttle.” Would this lead him to escape? Clearly this was part of the game. This must be Unit Twelve’s intended path for a player to win the game. Ruxto switched the toggle over to ¨Bio-Dome/Shuttle,¨ then went to find the water he’d been promised.

He found the water dripping in individual drops from the giant center-machine, where steam billowed from the top to turn the turbines. As steam plumed from the top, condensation dripped down the sides. The ground underneath was wet, but only mildly. This was a naturally dry planet, and water evaporated quickly. He had to sit there for almost an hour, patiently letting drops fall slowly into his empty flask. He sat and meditated, resting while holding the bottle until it was full. In his other hand he still held the robot. And he wondered about the robot´s other toggles… the one that said, ¨Bio-Dome/Animals,¨ and the one that said, ¨Mysterious Destination.¨ Ruxto assumed that ¨Mysterious Destination¨ was some kind of trick to fool unfocused players, since the curiosity was almost too strong for him to resist. But he was even more intrigued by the ¨Bio-Dome/Animals¨ option. Where would that take him? Did Unit Twelve create animals? Ruxto longed to explore the rest of this planet, but that would be foolish in his current situation. He was not in control of his surroundings right now. He was trapped in a game, and he couldn’t afford to see what mysteries these advanced automated robots had created. He had to get off this planet, get a ship that he could control, and get a good supply of weapons and food. Then he would be safe and strong enough to explore interplanetary mysteries. Right now he was nearly powerless.

Crouching low, he followed the robot out of its hatch and into the yellow desert under the dark sky. There were several little robots moving around in the area behind the fan-building. Some were coming into the building, and Ruxto could see many more at varying intervals coming from the desert towards the fan, bringing their dirt-loads. There were also several empty ones driving away, apparently going to the three mines to get more dirt.

Ruxto’s robot took him in a different direction, following its new altered path. It drove much slower than Ruxto’s comfortable walking space, and this tested his patience. As an experiment, he picked it up and jogged for a little while, going in the same direction it had been moving. Then he set it down again and followed for a while. Moving like this, they kept going until the sunlight was all gone and the black fan was a quiet speck in the background, barely visible in the new darkness.

The air got cooler, and Ruxto considered resting for the night. Then he saw a row of steel blades emerge smoothly and silently from the desert a few hundred feet ahead. Sticking up like towers, they started moving towards Ruxto through the dirt, and moving fast.

He pulled out his laser first and shot some of the blades away, then took out his sword. When the wall of blades was close, he sliced through them with his own blade, placing his feet so the blade-stumps went safely between them. He cut them away cleanly, but sent one spinning so that it sliced through his right shoulder. The slice caused no pain right away, but the arm was mostly cut off and it dangled uselessly as blood gushed out. The blades disappeared back into the dirt behind him.

Ruxto fell to his knees, feeling no worry but working to stop the blood from gushing out. The bone was severed and most of the muscle. His arm was useless. He quickly undid some metal straps and took off his left sleeve, then bundled up the cloth and stuck it in his wound, between the arm and the shoulder. Then he took off his right pant-leg and tore it into a long strip. Using his teeth and his left hand, he tied the strip around both shoulders to hold his limp arm in place. At this point, he would almost rather die and be re-cloned than continue without his right arm.

Then he saw something else bad. His little guide-robot had been sliced in half by one of the moving blades.

“I should have put it in my pack,”” he said to himself.

He knew what direction the robot had been heading, and he could just follow that course until he came to the bio-dome. But that seemed risky… what if the robot was eventually going to change direction? That might be part of the game… Ruxto needed the guide-robots. That was obviously how the game was constructed. He wondered if he would have time to go get a new robot and come back before he bled to death.

Ruxto turned around and headed back towards the fan. He wanted to get there while it was still dark, then rest in the darkness of the black building. He took the ruined steel-blades that he had cut down and stuck them up into the dirt, marking the dangerous place for when he returned.

Focusing on the dark and thinking about nothing, he trudged back to the fan with his limp arm dangling. It tingled with barely-feeling at first, but soon went dead.

When he got back to the fan, the hum of the machinery was much too loud for him to get serious rest. He finished severing his right arm and wrapped the wound better. He filled up his flask again, then stole another worker-robot and put it in his pack. Ruxto walked back out into the night air, seeing the stars plus a moon which he hadn’t seen yet on this planet. It was a gray moon, dull in features but radiant in light-reflection.

He did not try to sleep, because he was so tired now that if he slept he was afraid he’d die. He walked slowly, and when the sun came up he ate the rest of his clone-meat, then took the new robot out of his pack and switched it to “Bio-Dome/Shuttle,” then followed it once again out into the desert.

The sun was high but not yet at its peak when Ruxto saw the gleam of yesterday’s blades sticking out of the sand ahead. Actually, he saw the gleam over an hour earlier but it was only now when he was close that he could see their shapes. So he put the robot in his pack again, took a swig of warm flask-water and gripped his laser. There would be no time for the sword, since he only had one hand. He kept walking towards the blades he had left as markers.

Before he got to the severed blades, another row of sharp metal prongs thrust up from the desert sands and began to move fast towards Ruxto. The ones he cut down had been replaced, and he started shooting with his laser. He shot down several of them before they reached him, so Ruxto didn´t have to use his sword. He jumped over the stumps and kept on walking.

Ruxto let the robot lead him again. He could still feel the energy he got from the last of his meat, but he could also feel it waning with his blood-loss. He hoped the Bio-Dome was close, but he still could not see it on the horizon.

Twice more that day Ruxto encountered a wall of blades. The first time he was quick enough to grab the robot and shoot down some blades before they could do any damage. The second time, he shot them down but one of the moving blade-stumps sliced through his left foot. He muttered an insult to Satan and wrapped up the wound. When he saw a glint at the edge of the horizon, he thought it would be more blades. But as he got closer, he thought it might be glass.

As darkness once more took over Ruxto saw that this new glint was from the giant Bio-Dome. His vision was getting blurry and his thoughts were simple, so he was glad the game seemed to be almost at an end. Pain poked at his mind from his foot and his shoulder. As he sat to rest he knew he could make it before sunrise, but he wanted to have the energy to face any obstacles that he might meet there.

The sun rose and Ruxto reached his destination without any of the expected obstacles. “Maybe this is it,” he said to himself. “Maybe the game is over and I won.” But he still kept his eyes peeled for danger.

The bio-dome seemed to be one massive glass-dome, a single-piece half circle that was hundreds of meters high and many kilometers across at the base. From his vantage point on the ground Ruxto could not see inside because the whole bottom of the bio-dome was framed in a bronze belt ten meters high. The glass above him reflected the sunlight and the black moon, refusing to give away its contents.

There was a double-door facing Ruxto as he approached, and a smaller door beside it. The little robot-guide went into the small door, which hissed with an air-lock as it opened. Above the double-door were white letters which read, “Welcome Human Number 1.” This was Ruxto’s greeting as the first person to ever play this planet-wide game.

There was a button on one of the doors, and Ruxto pressed it. Again he heard an air-lock hiss, louder this time, and the doors opened into a small room with more double-doors on the other side. The walls, ceiling and floor were all bronze. Ruxto hesitated before entering the small room, anticipating more debilitating adventures.

At this point his mental faculties were a dim light, barely lit, and it took everything he had just to limp through the door. He was in no shape to fight. He knew he could not out-think anybody or anything right now, and he resigned himself to whatever fate this room held for him. He went in and slumped to the metal floor, feeling cold metal as a refreshing variation from the hot desert. He sucked in cool air and felt instantly revitalized. His right shoulder pounded with pain as his heart began to beat a little stronger.

His dismal faith was rewarded as the opposite door opened, surprising him with an image of trees, foliage, grass and dark soil. He closed his eyes and breathed in the forset-smell. The tree-trunks were tall, and their leaves were all high up out of reach, so the forest was an open area with a shady canopy. He could feel a breeze, certainly artificially created but bearing the sweet smells of plant-life. He didn´t hear insects or animals, and he expected that there were none. Although, he remembered the other options on the little robot-guide, including “Bio-Dome/Animals.”

Still limping but now filled with a new energy, Ruxto stepped onto the soil with his good foot. The door closed behind him and he looked around at the trees. A happy guest in this strange home, he closed his eyes to take in the breeze, and a smile of relief pulled at his face. This was truly beautiful. An artificial forest on a far-off planet, and he was the first to see it. The pain of his broken body was a satisfying juxtapose to this gorgeous place.

He touched the brown bark of a tree. It was rough and rutty. He smelled it, then he bit it and tore off some bark. He chewed on it, not caring whether it was safe or not. He didn’t realize how much he had missed plant-life. What a strange thing, he thought, that plants are so naturally comforting.

Above him he could see the glass ceiling. There was no glare, but the shape of the sun was slightly distorted by the curved glass. He could barely see it through the canopy of leaves.

He walked through the trees, running his hand through green foliage and eating random stems and leaves. There were no thoughts in his head, just peace and relief.

Soon his tiredness came back even stronger and he knew he needed to rest. He lost enough blood that he would probably die, and he didn’t know how he could pilot a ship with only one arm. But maybe if he died then Unit Twelve would re-clone him here.

Either way, he wanted to find the shuttle before he sat to rest. Even more, he wanted to find another computer terminal that would answer more questions for him, or maybe even help him take care of his injuries.

After a couple kilometers he saw something white through the trees. Soon he came to the shuttle, a white arrow pointing upwards. It was trapped inside a glass cylinder which extended all the way up to the top of the dome. It stood on a glass pedestal, and there was a computer terminal beside it. Behind the shuttle-in-glass, there was a small white one-story building with a regular door and a doorknob. Ruxto didn’t even go up to them. When he saw they were there, he allowed himself to collapse on the ground, and he instantly fell asleep.

He woke up on a black slab.

Ruxto stared up at a canopy of green leaves, swaying in the artificial breeze. He took a deep breath. His body felt healthy, and his mind was instantly sharp and revitalized. He considered the many implications of these beautiful trees, and he stared at them with peace and a love of the universe.

His left arm had been replaced, and all his injuries were fixed. After he passed out, Unit Twelve must have fixed him or re-cloned him.

Sitting up on the slab he saw that he was right beside the white building and the glass cylinder. He walked on the soft soil and pulled at the door to the building, but it wouldn’t open. That must be where the machine worked on him.

Ruxto went over to the terminal, looking into the cylinder as he walked. The computer was identical to the one in the cave, and Ruxto spoke to it.

““Is the game over now?” he said. “Did I win?””

The machine printed, “the game is over and you can use the shuttle to leave the planet when you choose. You are also welcome to enjoy this bio-dome or one of the other bio-domes on Pledvi-L-5.”

““You should change the game,” Ruxto said. “Other humans might get really angry if you destroy their bodies and keep them on your planet for hundreds of years. You could offer different difficulty options, or develop a faster cloning system.”

The computer printed, “your input will affect future games. Any new input will also be considered.”

“How much food is in that ship?”” Ruxto said.

The computer told him that the ship could make food and water out of rocks, and it also had a miniature herb-garden and meat-garden.

He kept chatting with the computer, finding out whatever information he could get from it. He knew it wasn’t alive or self-conscious, but somehow it was still a stimulating conversation. The only problem was that all its information was thousands of years old. It didn’t know anything about Araquadigio Anastasio.

The breeze brought a momentary chill to Ruxto’s skin, even under his black suit. This game made him realize how fragile his body was out here in space. Back in Ruxto’s world his human body was stronger and faster than most, and he had an advantage. But if Ruxto was going to find Jimmothy Knack or Araquadigio Anastasio then he would need a body that was strong enough to travel across the vacuum of space, survive on desolate planets, and maybe fight ruthless robots. Unit Twelve on this planet had easily killed his body more than once. There was no way to know how other robot-seeds had evolved, and some of them might be genuinely hostile.

““What kinds of upgrades can you design for my body?”” Ruxto asked.

The machine printed, “that depends on time-constraints. Unit Twelve was built to experiment.”

Ruxto asked it to build him a new clone with strong synthetic bones and high-powered muslces. He also wanted to be able to breathe in space, plus withstand extreme heat and extreme cold, but those were advanced enhancements that he would worry about at a later time.

He said, ““can you also make books? Print me literature on chemistry, biology, genetics, physics, space travel, biotechnology and genetic-manipulation technology. See if you can find anything about complex synthetic genetics.””

Ruxto was only partially dismayed, and not at all surprised, that the machine took another three-thousand years to make his new body. He chose to be dead for the whole time, asking the computer to destroy his body and only wake him up when his new body was ready.

There was strength in this new body, and Ruxto tested it by climbing tall trees and jumping out of them. He didn’t break any bones or even twist an ankle. In this new body he could still feel pain, but it required a lot more damage to really make him suffer.

He took his books into the ship. He also brought some branches and soil, and he collected seeds and fruit and acorns. This was very pleasant and peaceful, and his violent past seemed like a distant memory.

Then he flew away in the space shuttle, going into outer space to find Jimmothy Knack, who would lead him to Araquadigio Anastasio, if either of them were still alive.

The End

Machine Thinking: The End of an Era?


amy

by Amy Anderson

The internet is often the starting point for my new ideas. When I come across novel ideas online, I try to apply them to my little world and see if they ring true. Nerdy, I know. So, here’s American educational rebel John Taylor Gatto talking about Marshall McLuhan’s views on machines:

“Marshall McLuhan once called on us to notice that all machines are merely extensions of the human nervous system, artifices which improve on natural apparatus, each a utopianization of some physical function”.

I would go further and say that machines are not just substitutions for the nervous system, but for the human body as well. So, a car is really a substitute set of very fast legs that go from point A to Bwithout leaving us fatigued. Gatto’s explanation continues:

“‘Equally important’, says McLuhan, ‘the use of machinery causes its natural flesh blood counterpart to atrophy’”.

We’ve certainly seen this in Canada over the last thirty years – cars make legs atrophy. People get fat because they no longer use their legs; instead they eat unhealthy food from drive-thru windows. So what?

Although McLuhan’s statement itself is interesting, what intrigues me most is the idea of “machine thinking” – that the human body is like a machine, that cities are organized like an immense clock, that we are all cogs in the wheel. This is a tremendously influential idea that has been with us in the West since the Industrial Revolution.

It is my feeling that this machine paradigm is becoming obsolete in our post-Industrial era, and that ‘machine thinking’ is eventually bound to give way to a more techno-naturalistic understanding of the world as a place of connectivity and relationships. Sounds like a lot of hocus-pocus but it actually has a big effect on how we perceive ourselves, and by extension how we organize our societies.

The contrast between the natural and mechanical worlds is clear – the natural world is cyclical, subtle, non-linear and full of processes. Think of a tree and the repetitive but always slightly different growth cycle it goes through in a year – dormancy during winter, leaves budding, foliage, shedding leaves, dormancy again. But two years are never identical, despite the repetitions in the process.

The machine is linear, self-evident, and product driven. A cardboard factory has specific inputs processed identically in each case, with products made uniformly and with the machine invented for precisely this purpose. It has one end and one end only, whereas a tree is part of a complex natural network (ie, an ecosystem).

In the past 250 years, we have interpreted the machine’s ability to surpass human weakness and nature’s unpredictability as a glorious triumph. It has given us mass transit, consumer goods, large-scale food production, and communication technology. From James Brown’s legendary drummer to the Olympian Michael Phelps, the statement “he’s a machine!” is usually meant as a compliment.

However, as we move further into the post-Industrial era, many people are starting to wonder if the complexity and sophistication of natural systems are in fact superior to the linear processes of the machines. Part of this is probably due to the detrimental results of too much mechanistic intervention.

Machines are largely responsible for such problems as pollution, climate change and deforestation. Although we might imagine the world as a machine with discrete and disconnected parts, clearly the results of our actions show us that everything is connected. Cars don’t just replace legs in taking us from point A to B, they actually change the atmospheric make-up of our planet.

Furthermore, no supercomputer has surpassed the abilities of the human brain. Sure, we can attach a lot of computers and do really big calculations really fast, but nobody has succeeded in creating a thinking machine that writes or understands poetry, births children or runs marathons. All of these acts can only be achieved by the organically functioning system that is our brain, with help from the body.

The natural world is inherently intelligent, unlike machines. Natural feedback loops have evolved to ensure that not too many lemmings live for too long, and that birds fly south for the winter before their climate becomes too inhospitable to survive. All of this takes place without intervention.

In addition to raising the material standard of living, the proliferation of machines has had a tremendous impact on human perception. Imagine living in a pre-industrial time when nearly everything was made by hand. The psychological implications of that should not be overlooked – humans were once directly involved with, and responsible for their interactions with the material world. They were connected to feasts, famines, diseases and lived within the psychological boundaries that came along with seeing themselves as part of the natural world.

With the invention of machines, humans began to dominate this world. Subsequently, nature became something to be subdued or managed and strangely, humans started to pressure other humans to behave like machines – ie. to stop feasting and go to work in large factories.

Most people still see things in mechanistic terms, describing everything from planetary orbits to parts of the human body as if it were all another cog in the wheel. But if there’s anything that climate science, quantum physics and attachment theory demonstrate, it’s that the world is in fact much more subtle and connected than a machine, which is built for only one pre-ordained purpose.

Now we have entered a phase where our ideas and knowledge are opening up new possibilities: the possibility of modelling human creations on the natural world. What does this mean? It means we are transitioning from a linear, segmented way of seeing the world (and behaving in that world) to a more complex, interactive and self-organizing set of systems.

The internet is a prime example of this new model: although it is high-tech and dependent on industrial processes to begin (ie. someone has to make computers and cell phones), the internet enables people to self-organize, connects information and people regardless of geography, allows the creation, implementation and monitoring of new ideas, all without levers or central planning. This is much more akin to the self-regulation of natural systems.

Permaculture is another relevant example. Whereas in agriculture the goal is to produce as much food as possible as cheaply and quickly as possible, in permaculture humans imitate natural systems: planting gradually over a series of years, working with the natural tendencies of the specific region, using natural solutions instead of chemical interventions. Here we have avoided the machine approach that leads to loss of topsoil and biodiversity while maintaining productivity needed for human survival.

My feeling is that to advance beyond our industrial problems and limitations, we will need to acknowledge that ‘machine thinking’ is no longer sufficient. Instead, we ought to be modelling ourselves on the idea of a living organism: made up of complex interdependent parts, intricately tied to our environment, the whole being more than the sum of its parts. I think that many of the top thinkers of our times have already arrived at this conclusion – if you’ve spent any time on ted.com lately you have probably seen some of this new mentality.

Obviously, human beings are not going to leave behind the knowledge gained from the Industrial Era. But I hope we will have the wisdom to acknowledge that we are part of the physical world, not its master. Using natural processes as a model is necessary if seven billion of us are going to continue to inhabit this planet. It’s interesting to see the pendulum swinging back towards the physical world – not exactly to pre-industrial times, but back to a mentality that focuses on context instead of pretending everything is separate.

It’s exciting to be alive during a time when new ideas are likely to transform the way we see the world and ourselves in it. As Mr. Einstein famously said, “ the problems that exist in the world today cannot be solved by the same level of thinking that created them.” I think Einstein’s right about that, but of course, new situations invariably create new problems.

Still, one thing’s for certain, the sun is setting on the analogue age, and we are going to need new ideas to express the realities of a new era. Letting go of ‘machine thinking’ will help determine which people adapt and prosper, and who will remain burdened by a mode of thinking that no longer reflects the world in which we find ourselves.