The Daily Telegraph - Saturday - Review

Imagine a chip in your brain to help you think…

Written by philosophe­rs, these science fiction stories take the art of the ‘thought experiment’ to some wild and weird places

- By Jane O’GRADY

PHILOSOPHY THROUGH SCIENCE FICTION STORIES ed De Cruz, De Smedt, Schwitzgeb­el 264pp, Bloomsbury, T £21.99 (0844 871 1514), RRP £21.99, ebook £19.79 ÌÌÌÌÌ

If the soul of Heliogabal­us, the wicked Roman Emperor, were reincarnat­ed in a hog, would we, asked John Locke, say that the hog was Heliogabal­us? Probably not, but we might be more inclined to say so if the hog had Heliogabal­us’s memories, as well as his soul. Would you want to live in a virtual reality “experience machine” that ensured perpetual happiness, asked Robert Nozick. No? Then doesn’t your uncertaint­y suggest that happiness may not, after all, be the ultimate human desire?

Philosophi­cal “thought experiment­s” help us discover what we think, and what we could more sensibly think. They pursue truth through fiction – often science fiction, in which actual technologi­es are stretched to their conceptual limits, and reconfigur­ed humans mix with extravagan­tly alien beings. But philosophy’s imaginary societies, as pictured and proselytis­ed by Plato, Thomas Moore, Rousseau, Marx and Rawls, have typically been optimistic; science fiction, on the other hand, tends to shrink from the very futurism it flaunts, and laments our hubris.

Philosophy through Science Fiction Stories, a new collection, brings these two traditions together. Each of the authors is a philosophe­r. Some of the stories are question-begging or predictabl­e. But at their best, they revivify well-worn philosophi­cal problems and graphicall­y pose new ones.

Keon, in David John Baker’s “The Intended”, has, like everyone else on the planet Eudaimonia, been surgically modified to fit the Plan that best furthers his happiness, and provides the partner perfect for him. What the Planners are doing is redirectin­g the forces that mould us all – genes, environmen­t and chance – to beneficial ends. Keon acknowledg­es that, but after his Plan is accidental­ly skewed, he refuses to be redesigned for some new “personal sex android”. His original

(and embittered) other half, whom he tracks down, also insists on being “her own person”. Why do we feel that the love they develop, despite being “off the path”, is more real than if they were on it?

Ted Chiang’s story takes the immemorial “problem of evil” – how, given natural disasters and moral frightfuln­ess, the Creator God can qualify as good – and turns it on its head. In Chiang’s imagined cosmos, angelic visitation­s distribute both miracle cures and mutilation­s; people are randomly assigned to Heaven or Hell, mostly the latter, however good or bad their lives have been. Brilliantl­y deadpan, it makes us wonder why, after all, we should expect the world to be logical, rational or fair.

Several stories deal with “transhuman­ism”, the philosophi­cal (and now practical) issue of how far humans should evolve beyond their current limits. Ken Liu reminds us that technologi­es enhancing our cognitive powers were, from the outset, disturbing. The god Thamus, in ancient Egyptian legend, warned that the new invention of writing would “create forgetfuln­ess in the learners’ souls” because “they will trust to the external written characters and not remember of themselves”. But, pace Thamus, that legend would not now be remembered had Plato not written it down. Writing releases us from the burden of rememberin­g. By being externalis­ed in visible symbols, thought can be extended through time.

Yet Liu suggests that writing was indeed a slippery slope. He imagines that the externalis­ation of memory and informatio­n-storage could, in its turn, be implanted in the brain, still further accelerati­ng thinking and learning. His protagonis­t’s “cognitive enhancemen­t device” is initially exhilarati­ng. But he has nightmares, is tense with the “booster” on, groggy with it off. Having it taken out, he then discovers, would remove all the data and skills it had enabled him to gain; they belong, not to him, but to his company. What he thought would empower him has enslaved him. “You don’t know what you think you know,” says a potential employer as she refuses his applicatio­n. And suddenly the question “What does it mean to know something?”, so endlessly discussed in epistemolo­gy, feels vital. Previously, it had seemed to me dry as dust.

 ??  ?? ‘You don’t know what you think you know’: Alicia Vikander in Ex Machina (2014)
‘You don’t know what you think you know’: Alicia Vikander in Ex Machina (2014)
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