rowan rabe . ink

Category: Books

  • Retro tech

    I am reading Translation State by Ann Leckie (sequel to the Imperial Radch trilogy 1 2 3 I favorably reviewed, fucking hell, ten years ago).

    It is a far-flung high-tech space opera published in 2024, near-Culture levels of tech, or at the very least, well beyond Star Trek with warp capability etc. It’s a lovely book and I am thrilled the author chose to revisit this universe, but that is not really here or there.

    There is, in short, a bloody, shocking, historical event the aftermath of which is well documented on some sort of audiovisual media, and a group of people who think the event was completely made up. They have a motive, granted, and that is the best negation of proof. But the POV character at the time seems to think having seen the footage is proof enough. And my immediate thought is — why are you not considering that it is AI? Of course post-disaster footage can have any narrative attached to it, but I was more interested in the POV character’s immediate faith in the footage itself being real. And I have read a lot of science fiction over the past a lot of years– I am trying to recall what my initial reaction was to like statements (i.e. what is seen is what is) in older novels with a similar level of far-future tech quantum leaps beyond our own. Of course in the narrative structure of science fiction is inherent a lot of technological gotchas and revelations, and generative AI has been a staple of science fiction since its inception, but what I thought was — why does this character, specifically, not consider AI? Not me the genre-savvy reader, but this character who in-universe is not unusually adept in tech or science.

    When did generative AI move, in my mind, from the category of esoteric and theoretical to a given like electricity? When did I assume it was common enough to be first thought for any person of any tech background?

    When would I have begun to wonder if the very fact this character of this high-tech epoch did not immediately draw it to mind might be a clue, an anomaly, some key to a backwater upbringing?

    It isn’t, and wasn’t. It’s beside the point as far as the novel itself is concerned. But I have been wondering about my reaction, me-in-2025, and the-author-in-2024.

    Considerations:

    1. The AI concerns were already addressed in the “backstage” of the novel, temporally or narrative-wise, and there was no narrative point to bringing it up as part of the character’s thought process. I am reminded of Hermann Hesse’s characterization of brevity as respect for the reader in Steppenwolf.* Leckie’s style is also spare and to-the-point. It is good to let some what-ifs breathe.
    2. Advanced AI is at the forefront of this series — consciousness of collectives and machines is a key theme of the original series.
      • Why would I assume generative AI would precede cognitive AI?
        • As a law of nature?
        • As a necessary “upstream” technology of that more advanced AI?

    There is clearly an ‘order’ to scientific discoveries, a sequence — science builds upon itself and many discoveries depend on previous knowledge. So it is not itself a silly thing to believe, that there are forms of tech necessarily upstream of other forms.

    With the advance of time, this disconnect is written off as aesthetic. That is the essence of ‘retro-futuristic’. The aesthetic is intentional in works written after the advent of that tech and merely charming in works written before. The difference in intentionality between original Star Trek as written in the 60s with that tech or lack thereof and the exact same show were it produced today is a question of aesthetic. Or, even more Millennial**, irony.

    My question is — when would non-acknowledgement of generative AI begin to qualify as part of this aesthetic?

    And, are there examples of science fiction that consciously buck this trend for reasons other than aesthetic or irony? That explore the link with more than a gut feeling akin to “well, if they can go warp speed they sure as hell figured out cell phones” arising from the feasibility disconnect between cell phones (where we are now, so very possible) and warp speed (a distant theoretical) in our own reality? Fan works have cleverly messed with the mismatch in tech levels as an intellectual exercise — how would we have become warp-capable when we’re still using 5.25″ floppies — but I’m struggling to think of one where that is the premise from the jump.

    I want to say that the lack of evidence for practical use of the wheel by the highly-architecturally-advanced Maya is the closest I can come to a real-life example, or would be if lack-of-evidence actually had any positive significance, beyond potentially pointing to something so commonplace it is not depicted or clarified. (Will people reading our recipes a thousand years hence know ‘eggs’ means ‘chicken eggs’?)

    *I realize I do not run a respectful blog.

    **Yes, even more than aesthetic.

  • Through a lens familiarly

    A continuation, I reckon, of a re-read of Stephen Fry’s Greek myths, certainly not because Hades II had a recent full release or anything so puerile as that, though this time I’m all the way at the Odyssey.

    Telemachus, son-of-Odysseus, looks just like his old man–a “chip off the old block” as Helen-via-the relentlessly-English-Fry puts it. That is the reaction he gets when meeting anybody who knew his father — immediate, reflexive, almost awe. Telemachus at this point in the story does not remember his father, as the latter was summoned to the Trojan campaign when the former was but an infant. But, from birth, in his mother’s eyes, the ghost of his father hovers over him and everything he does.

    I was struck by how familiar this was–this was a motif in my own life.

    That was common enough when I was growing up close to the small town where he grew up, visiting often. This is a small town in a “small state”, in the sense that it is a rural state and everybody seems to know or have connection to each other who has lived there long enough. It was not a recognition I anticipated I would get ever again once I had moved out of that temporal and geographical sphere. Yet, as fate had it, one of the administrators in my department at a world-class school in a world-class city knew my father in childhood. One Christmas party I was chatting with her and my mentor when she said, seemingly out of nowhere, “You look so much like your father.” (My mentor, who knew my roots were deeply rural, was shocked–I had not told him happenstance had placed an old family friend from another world in our little department in our massive school.) It was unbidden, a burst that comes of no longer being able to hold something back, from being overwhelmed by a thought. I have spent a lot of time thinking about that encounter. I was an anachronism, a powerful anchor for nostalgia, well out of time. I wish I recall what I had been saying, or what my facial expression had been, or what I had been wearing. Something to clue me in to what, precisely, was the last straw.

    I was an adult when I first saw a photograph of my father in his youth, in his high school yearbook. Time had not yet masculinized him as much as it had when I knew him, or even saw photographs in college, and I felt I was looking at a photograph of myself. Me, a bit broader in jaw in shoulder, a bit more heavy of bone, but even dressed the same was I was for my senior photographs in black suit and tie.

    Those gasping reactions I used to get from people who knew my dad — “You look exactly like your father” — are a time-limited state of being-understood. People who see me through the lens of him will die out and should the fates favor me to live that long there will come a time when no-one on earth will see me by my resemblance to my father; or, rather, the people who knew my father before they knew me–who see me in the context of him as the primary relation–will die off. This does not feel like losing “myself” but it is a loss of a link. A loss of a function as a mirror, which can reveal things about oneself by comparison. Not all it reveals will be flattering, but it will be worth thinking about, if I have the courage to do it with an honest mind. The resemblances are not merely physical. I’ll leave it at that.

    Not all are familiar with the dynamics of rural areas — large geographical swaths with small populations, small state capitals, small universities, the same institutions in huge populated states but writ small where everyone seems to know everyone else. The offices that require geographical distribution — doctors, professors, lawyers, the sort of office where you need a baseline of X practitioners per X unit land regardless of population density–that create a small pond for some large fish. The setting of the Odyssey, a collection of city-states we now think of as “Greek” largely, would have been similar — there is room for each large personality to become well-known. I am reminded of Dunbar’s number here — that each person can remember maybe 150 people intimately, regardless of the population density in which they live, and at lower densities the odds favor somebody-knowing-somebody-who-knows-you.

    I had thought in coming to California I had forfeited any likelihood I would be evaluated through the prism of family. It is liberating. Alienation often is. But alienation is decontextualizing, and I have an inordinate respect for context, for understanding a person through their place in the matrix of relationships that created them. Maybe that is why I so like multi-generational epics.

  • The shedding of old ways of thinking

    In celebration of the honor awarded watercolor artist and author Obi Kaufmann last week, I started flipping through my copy of The State of Water and had my mind blown, linguistically:

    “From “”The State of Water” by Obi Kaufmann, pg 23: “The word [water]’shed’ implies a container, an isolated and discreet investigable unit.”

    I always associated ‘shed’, in the context of ‘watershed’, with sloughing something off, shedding it like a skin. So, when I saw ‘watershed’ on a map I pictured the going-to place for water, where water sheds off mountains and hills and the like. But I always wondered why the word focused on the “shedding” aspect rather than the “holding” aspect. Because of this, I associated the term “watershed” with movement-toward, coming-together, flux–and maybe that is more accurate than the stable stagnant ‘pool’ I admit I picture when I think of a water shed. The only water I’ve seen in ‘sheds’ (as in a freestanding rough storage structure) is standing mosquito-hosting muck. Maybe my mistaken etymology was actually an insight? I think I’ll go with that.

    I am sure I (a) noticed this the first time I read it, (b) felt like I had a revelation, and (c) forgot, obviously.

    Anyway Mr. Kaufmann is one of my favorite watercolorists and naturalists and his books on California ecology are a delight. I keep them over my desk in place-of-privilege granted to books I pick up to noodle through most often.

  • Le Guin was right about everything part 58 of

    “The one I liked best was the one where Mr. Spock had to go home because he was in heat,” I said to her.

    “Except he never, you know,” she said. “They just had a fight over the girl, him and Captain Kirk, and then they left.”

    “That’s his pride,” I said, obscurely. I was thinking how Mr. Spock was never unbuttoned, never lolled, kept himself shadowy, unfulfilled; and so we loved him. And poor Captain Kirk, going from blonde to blonde, would never understand true love, would never even understand that he himself loved Mr. Spock truly, hopelessly, forever.

    Ursula K. Le Guin, Searoad: Chronicles of Klatsand, “True Love”

    Searoad: Chronicles of Klatsand was just reprinted and contained several short stories I had not yet read, including this one, with a quote I have seen before online but have now encountered in context.

    Wisest writer in history. 12/10 insight. Genius.

  • Queen Bitch

    Apropos of nothing, certainly not video games that just came out or anything of the sort, I’ve been re-reading Stephen Fry’s Greek myths anthologies, and I encountered what is, somehow, the old-queeniest thing I’ve read in a while*:

    I am very fond of [Hera] and, while I am sure I would stammer, blush and swallow awkwardly in her presence, she finds in me a devoted admirer. She gave the gods gravity, heft and the immeasurable gift of what the Romans called auctoritis. If that makes her seem a spoilsport, well, sometimes sport needs to be spoiled and the children called in from the playground.

    –Stephen Fry, Mythos

    God keep you, Mr. Fry.

    Also completely unrelated: I still can’t get Supergiant to confirm his voice was supposed to be this:

    (Every time he opens his mouth I hear “Tell me, Melinoë…”)

    But seriously, I love his nasaly, queeny voice.

    *and I’ve been reading In Search of Lost Time

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