Difference between revisions of "Twelve Tomorrows"
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In the anthologized stories "implications of computer technology innovations [...] loom large," and "Several are about AI, or variations thereof," notably Paul "McAuley’s 'Chine Life,' offers a far future in which AI has mostly supplanted humanity and has split into factions, one of which wants humanity eradicated and the other of which ostensibly wants to help, but literally colonizes the bodies of human beings in order to do so." | In the anthologized stories "implications of computer technology innovations [...] loom large," and "Several are about AI, or variations thereof," notably Paul "McAuley’s 'Chine Life,' offers a far future in which AI has mostly supplanted humanity and has split into factions, one of which wants humanity eradicated and the other of which ostensibly wants to help, but literally colonizes the bodies of human beings in order to do so." | ||
| − | In "Resolution," Clifford V. Johnson presents a story "told in comic format" where "an alien invasion goes unnoticed because the aliens (who are apparently incorporeal) have passed themselves off as the AI the protagonist thought she had developed." Elizabeth Bear's "Glory, Glory" features a hacked AI that is fooled into believing a catastrophe has occurred and therefore confines the rich recluse who owns it "to his impregnable fortress of a house, until he pays the hacker/extortionists $150,000,000." For the confinement motif, cf. and strongly contrast ''[[Colossus]]'' | + | In "Resolution," Clifford V. Johnson presents a story "told in comic format" where "an alien invasion goes unnoticed because the aliens (who are apparently incorporeal) have passed themselves off as the AI the protagonist thought she had developed." Elizabeth Bear's "Glory, Glory" features a hacked AI that is fooled into believing a catastrophe has occurred and therefore confines the rich recluse who owns it "to his impregnable fortress of a house, until he pays the hacker/extortionists $150,000,000." For the confinement motif, cf. and strongly contrast ''[[Colossus]]'', with a more sophisticated and, let's say, take-charge supercomputer. |
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| + | "Sarah Pinsker’s 'Caring Seasons' also involves smart tech (whether actually AI or not is not spelled out) run amok, as it presents a retirement facility in which the medical protocols designed to protect residents instead become the tools that imprison them." Another AI story is J.M. Ledgard’s “Vespers,” where humankind's first interstellar spacecraft is "run by an AI that spends the story ruminating about its situation," for which cf. and contrast such AIs as Ship from HAL 9000 of ''[[2001: A SPACE ODYSSEY (film)|2001]]'' as film and novel to ''[[Mayflies]]'' to the conscious ships in [[The Culture (novel series)]].[https://www.clockworks2.org/wiki/index.php?title=Special%3ASearch&search=AI+ship&go=Go] | ||
RDE, finishing, 22Oct21 | RDE, finishing, 22Oct21 | ||
[[Category: Fiction]] | [[Category: Fiction]] | ||
[[Category: Anthologies & Collections]] | [[Category: Anthologies & Collections]] | ||
Revision as of 01:19, 23 October 2021
WORKING
Twelve Tomorrows. Wade Roush, editor. Cambridge, MA: MIT Press, 2018. Technology Review TRSF series #5.
Reviewed by Dominick Grace, our source here, SFRA Review 50.1 (Winter 2020).[1][2]
Eleven stories and a "retrospective on the life and career of Samuel R. Delany." Grace tells us that "The remit of the series, as explained on the series website is to offer 'original stories that explore the role and potential impact of developing technologies in the near, and not-so-near future.'"[3]
In the anthologized stories "implications of computer technology innovations [...] loom large," and "Several are about AI, or variations thereof," notably Paul "McAuley’s 'Chine Life,' offers a far future in which AI has mostly supplanted humanity and has split into factions, one of which wants humanity eradicated and the other of which ostensibly wants to help, but literally colonizes the bodies of human beings in order to do so."
In "Resolution," Clifford V. Johnson presents a story "told in comic format" where "an alien invasion goes unnoticed because the aliens (who are apparently incorporeal) have passed themselves off as the AI the protagonist thought she had developed." Elizabeth Bear's "Glory, Glory" features a hacked AI that is fooled into believing a catastrophe has occurred and therefore confines the rich recluse who owns it "to his impregnable fortress of a house, until he pays the hacker/extortionists $150,000,000." For the confinement motif, cf. and strongly contrast Colossus, with a more sophisticated and, let's say, take-charge supercomputer.
"Sarah Pinsker’s 'Caring Seasons' also involves smart tech (whether actually AI or not is not spelled out) run amok, as it presents a retirement facility in which the medical protocols designed to protect residents instead become the tools that imprison them." Another AI story is J.M. Ledgard’s “Vespers,” where humankind's first interstellar spacecraft is "run by an AI that spends the story ruminating about its situation," for which cf. and contrast such AIs as Ship from HAL 9000 of 2001 as film and novel to Mayflies to the conscious ships in The Culture (novel series).[4]
RDE, finishing, 22Oct21
