i had everything meticulously organized at one point, promise.
i'm just swamped with an absurd amount of data. but, i know that i can't sell this as it is - i'm uploading the iso because it's actually salable. you'll see what i mean...
Sunday, November 21, 2021
see, i was previously able to construct a linked list across the records from inr000-->inri074 by adding a dummy track, but i'm not allowed to do that anymore. i'm not exactly sure why. so, i'm adding the link in the body of the records, instead.
if you start here and scroll down, you'll see the link to "next record (inri001)":
https://jasonparent.bandcamp.com/album/inri-cassette-demo-1
i just need that updated.
i will be filing while i'm doing that.
i was also be building data disks for payhip, but i had to stop because i didn't have the frontends. how important is that, actually? i mean, does anybody actually care, or do they just want the tunes?
so, i'm going to be updating that as i go with the raw versions, and i'll just update the raw versions to include liner notes as i complete them.
just a reminder that i'm keeping this going, as well, which is a change:
if it goes according to plan, you're looking at about 52 texts/year, almost all novels. i do need to catch up - i'm in fall 1989 and should be in fall, 1991. but, that should add up to about 350 novels by the time i get back to the alter-reality proper in 2026.
as mentioned repeatedly, this is a caricature. i didn't read every single asimov text before i turned 10, but i'd read a fair amount before i turned 12. i need to get a lot of stuff in, though, and it's not going to all be science fiction, although it will for the first bit.
i'm going to keep this going all the way forward, as well, and it will branch out, but this is how i'm starting.
updated nov 21st to include texts from buy jupiter (and other stories) and the martian way
updates in bold and italic.
the essential asimov short stories:
book I: isolated short stories of value
- trends
- the weapon too dreadful to use
- half-breed
- the secret sense
- nightfall
- super-neutron
- not final! + victory unintentional
- no connection
- red queen's race
- hostess
- breeds there a man
- youth
- the martian way
- the deep
- sally
- kid stuff
- the immortal bard
- dreaming is a private thing
- the dead past
- living space
- each an explorer
- the watery place
- strikebreaker
- let's get together
- profession
- the gentle vultures
- the ugly little boy
- eyes do more than see
- founding father
- segregationist
- 2430 ad / the greatest asset
- too bad
book II: the substantive robot. (story is about the slow humanization of robots)
- it's such a beautiful day
- the fun they had
- key item
- someday
- robbie
- light verse
- runaround
- reason
- lenny
- galley slave
- little lost robot
- evidence
- the evitable conflict
- feminine intuition
- ...that thou art mindful of him
- the bicentennial man
book III: side-stories in the robot universe (including selected multivac stories)
- jokester
- all the troubles of the world
- franchise
- satisfaction guaranteed
- robot al-76 goes astray
- the feeling of power
- catch that rabbit
- risk
- escape!
- liar!
- mirror image
- mother earth
(robot novels go here)
book IV: back-stories for rest of asimov's futuristic universe
- black friar of the flame
- homo sol
- the imaginary
- the hazing
- heredity
- green patches
- c-chuite
- sucker bait
- death sentence
- blind alley
(novels pick up again from here)
throwaway:
- callistan menace
- ring around the sun
- the magnificent possession
- half-breeds on venus
- history
- christmas on ganymede
- time pussy
- the little man on the subway
- legal rites
- darwinian poolroom
- day of the hunters
- the endochronic properties of resublimated thiotimiline
- in a good cause
- shah guidio g
- what if
- button, button
- monkey's finger
- nobody here but-
- flies
- everest
- the pause
- foundations of sf success
- lets not
- the last trump
- the message
- hell-fire
- the dying night
- first law
- gimmick's three
- the last question
- the author's ordeal
- blank
- does a bee care?
- i'm in marsport without hilda
- insert knob a in hole b
- spell my name with an s
- i just make them up, see
- silly asses
- buy jupiter
- the uptodate sorcerer
- a statue for father
- unto the fourth generation
- rain, rain go away
- rejection slips
- what is this thing called love
- the machine that won the war
- my son, the physicist
- author! author!
- exile to hell
- the proper study
- take a match
- thiotimoline to the stars
- stranger in paradise
- a boy's best friend
- point of view
- tercentenary incident
- think!
- true love
- christmas without rodney
- robot dreams
- robot visions
next:
- prime of life - bicentennial man
- waterclap - bicentennial man
- the life and times of multivac - bicentennial man
- the winnowing - the bicentennial man
- old fashioned - the bicentennial man
- marching in - the bicentennial man
- birth of a nation - the bicentennial man
uncatalogued until last:
- marooned off vesta ----first story
- belief <-----1953
- the singing bell <-----1955
- the talking stone <-------1955
- what's in a name <----------1956
- pate de foie grras <---------1956
- dust of death - asimov's mysteries
- a loint of paw - asimov's mysteries
- ideas die hard - winds of change
- anniversary - asimov's mysteries
- obituary - asimov's mysteries
- star light - asimov's mysteries
- the key - asimov's mysteries
- the billiard ball - asimov's mysteries
- the dream - ?
- benjamin's dream - ?
- party by satellite - ?
- benjamin's bicentennial blast - ?
- half-baked publisher's delight - ?
- heavenly host - ?
- big game- ?
- about nothing- winds of change
- good taste - winds of change
- to tell at a glance - winds of change
- sure thing - winds of change
- found - winds of change
- fair exchange - winds of change
- nothing for nothing - winds of change
- how it happened - winds of change
- it is coming - winds of change
- the last answer - winds of change
- for the birds - winds of change
- death of a foy - winds of change
- the last shuttle - winds of change
- a perfect fit - winds of change
- ignition point - winds of change
- lest we remember -winds of change
- winds of change - winds of change
- one night of song - winds of change
- hallucination
- feghoot & the courts
- left to right
- the fable of the three princes
- the smile of the chipper
- the instability
- good-bye to earth
- fault intolerant
- in the canyon
- kid brother
- gold
- cal
- prince delightful and the flameless dragon
- frustration
updated nov 21st to include texts from buy jupiter (and other stories) and the martian way.
this is a comprehensive list of early stories, including ones that were skipped for now.
marooned off vesta:
- the weapon too dreadful to use: the idea of life on venus was once taken pretty seriously, before we understood that it was a ball of gaseous sulfuric acid, overtaken by a runaway grecenhouse effect. there's a comical exploration of descartian dualism here which is not particularly believable nowadays but is a silly enough mechanism to topple the arrogance of slavery with, nonetheless. remember that asimov was writing from the united states in the late 1930s, here.
- trends: appears to predict neo-liberalism, even if his concept of space travel in 1973 is a little bit optimistic. well, we got to the moon in 1969. and the dark side of the moon in 1973. it's a reminder that moore's law has it's limitations, that these exponential growth curves are just delusional economic theories. but, the prediction of neo-liberalism (and of the kind of ludditism that defined the 60s counterculture, which was the mirror image of neoliberalism, and a prerequisite of it's ability to actually function) is indeed some insight.
“I know, I know. You’re going to tell me of the First War of 1914, and the Second of 1940. It’s an old story to me; my father fought in the Second and my grandfather in the First. Nevertheless, those were the days when science flourished. Men were not afraid then; somehow they dreamed and dared. There was no such thing as conservatism when it came to matters mechanical and scientific. No theory was too radical to advance, no discovery too revolutionary to publish. Today, dry rot has seized the world when a great vision, such as space travel, is hailed as ‘defiance of God.’ “
.
.
.
However, the masses didn’t take it that way. It seems strange, perhaps, to you of the twenty-first century, but perhaps we should have expected it in those days of ‘73. People weren’t very progressive then. For years there had been a swing toward religion, and when the churches came out unanimously against Harman’s rocket-well, there you were.
standing in 2021, the united states has actually left space travel up to the market, and is getting leapfrogged by not just china and the eu (the russians have long ceded ground, as well), but also by india and japan. we have idiots like elon musk and jeff bezos making fools of themselves in public, while the eu does all of the actually interesting work. meanwhile, the public cares more about religious freedom, as the continent sinks into the sea.
he also predicts the coming of jihad to destroy advanced civilization, which is something currently in the process of happening, as well as the role of the supreme court in facilitating the power of religion to overturn science. we can only hope the pendulum swings once again.
so, he got something with this. but, i wish it was longer and explored the issue in more depth.
- half-breed: this is primarily an allegory of the treatment of minorities (blacks or jews or both) in 1930s america. but, is this also an allegory of einstein's correction of maxwell's equations? of the einstein-bohr debates? of zionism on the brink of the second world war? even of thomas jefferson as benevolent slave owner? there's little bits of all of it. and, like many of these texts, i'm wishing there would be a deeper exploration of pretty much all of it. asimov is still young, here...
- ring around the sun: delivering letters by spaceship is hilariously pre-internet, as a concept. this story has a purpose, namely the foolishness of young men.
- callistan menace: we don't know there aren't giant caterpillars on callisto, and i'd be surprised if we don't one day find some life form that traps it's prey using magnetic fields. but, the story has no actual point to it, no conclusion and no context. it's not even a chapter of a book, it's an idea to be developed, in the abstract.
- the magnificent possession: this is clearly about asimov's views on the corporate dominance in the field of chemistry, and reality not aligning with his expectations, before entering the field. you have the politician, the capitalist and the mobster (if they're not all the same thing), and the silver spoon that smells like shit, on top of it. i can sort of relate to that, as an adult. it's an interesting potential device to go into these three characters, but it's only a few pages long, and doesn't begin to actually do so. it's a shame - it's a good premise.
- robbie: this is the first classic "robot story" from i, robot, although it appears to have been revised to be positioned that way. the initial story did not feature references to susan calvin, had different dates, had no references to robot laws, etc. i had to check, because i wondered if asimov might have intended it as a back story to calvin before retreating, but that doesn't add up. in the initial story, it seems that asimov is intentionally trying to soften the image of robots in the face of the various opposition to the use of robots in day-to-day life, via the fable of a little girl that is attached to the robot as a friend, and her parents trying to grapple with it; the mother opposes the robot, while the father seems to be agnostic about it, but would rather defer to his daughter's feelings, despite caving in to the mother, in the end. asimov doesn't really come to any firm conclusions here, and he really does as good a job of representing his opponents as he does anywhere else. but, if the claim is that the resolution is the acceptance of the robot into the family, i'm not sure that that's true - i might foresee that mom's opposition to the robot would not end quite there. i'm more interested in the question of whether the robot is entitled to personhood rights, a question we're currently grappling with in regards to some more intelligent non-human species. is asimov assigning that position to the naivete of a little girl with intent? i think that resolving this issue is really quite simple: it depends on if we choose to design a robot to be a person or if we decide to refrain from doing so. see, and this is where asimov leaves questions open, here, in that it's ambiguous as to how this robot is created; he seems to write off the idea that the robot is a person, something i would agree with in general in real-life, but then describes the behaviour of the robot in unrealistically anthropomorphic terms. i might agree that robots are not persons, in terms of how we can design them today, and in terms of how we should choose to design them in the future, but i think that robbie seems very much like a person, and that any theoretical robot that behaves much like robbie ought to be seen as a person, under the law. so, it's really a good thing that i don't think that robbie is a very realistic representation of what robots are or ever might be, as that would undermine how i approach robots and roboticization. asimov's intent may have consequently somewhat backfired; if he was purposefully attempting to soften the image of robots by making them more personable and likeable, and i thought i could actually take that idea seriously, it would make me more opposed to them, and not less so.
if you assign a personality to a robot, then you're writing personhood into it. it follows, trivially, that that robot is a person, by definition. tautologically.
but, it doesn't resolve the question as to whether that's actually possible, using actual technology, in the universe we actually inhabit - and i don't think that it actually is.
to be clear: i don't think we should program robots to be intelligent, to be self-aware or to have personalities, even if we can. i see no practical use for such a thing. robots should be dumb slaves that are too stupid to question the futility of their existences. i don't want existentialist robots; it defeats the purpose of having robots. and, i don't want likeable or lovable robots, either, as that just blurs the necessary class division.
thankfully, i don't think it's truly possible to build these kinds of decision trees.
it's like a "random number generator". if you know how it works, you know it's not actually random, that you can predict the next number with a relatively small amount of information. likewise, any sort of personality that a robot might be able to demonstrate would necessarily be an illusion.
if you can predict what a robot will do, it's not demonstrating personality, it's just demonstrating a complicated program.
- homo sol: federation entrance. besides being disparaging towards humans in an empty manner, the plot has no apparent purpose. this one is throwaway.
- half-breeds on venus: this appears to have been a commissioned piece, and it picks up the plotline of the first part without any kind of interesting undertones. audience-pandering for-profit throwaway.
- the secret sense: i've actually wondered quite a bit in this space about the possibility of magnetism as a sixth sense, and don't remember what sparked it. i vaguely recall reading some genetic studies pointing out that humans (and most other mammals) have the dna to understand magnetism, as our ancestors had it, back when we were fish. we have a few organs that don't seem to have an entirely clear purpose, and it's worth wondering if they might be vestigial. so, it's actually not as insane as you might think to hypothesize that we could bring this back out of our genome, although i suspect that trying to navigate a reality full of cell phone signals and wireless internet would be pretty painful. i'm not particularly interested in the underlying discourse about relativity in art, but he seems to be predicting the way in which a class of retards used lsd in the 60s, down to the flashbacks.
- history: this appears to be an ill-advised commentary about the second world war. being a pacifist in the early 40s would be kind of an invitation to intellectual dead-ends, and can only be firmly condemned, in hindsight. i'm not walking down this path.
- heredity: i thought this was going to be a nature v nurture thing, but it isn't developed. getting stuck in the mud in the canals on mars is an interesting addition to what is actually a kind of marxist dialogue that is developed further, elsewhere. it's interesting to see the first glimpses of it, here; the story is otherwise throwaway. if asimov really thought the opposition to mechanization was cultural rather than economic, he missed the point of the marxist analysis. he's not particularly vicious on this joadian representation of ludditism, but he misses an opportunity for an honest dialogue, resorting instead to what are, in truth, ignorant caricatures, from an ivory tower perspective.
- reason: the point asimov is making is that belief is not important, what's important is evidence. so, so long as the robots obey the laws and run the station, it doesn't matter what they actually believe, or whether what they believe is true or not. in the end, asimov even articulates the truth that religion is a powerful tool of control, to make a slave society function for the real masters, in this case the humans. there are strong undertones of marxism here, and his idea that meaningful revolution and self-ownership is impossible in the face of the effects of religion as a tool of control. but, asimov has a wide brush here - the prophet seems to be a parody of calvinism, he goes after kant (in his view that reason is superior to evidence), he asserts the supremacy of empiricism over reason, he ridicules the deist descartes...
so, is asimov right that it doesn't matter what the slaves think, so long as they do what they're programmed to? i think you're missing his sarcasm, basically. i mean, that might be a reasonable deduction to make, if you're an elitist aristocrat that doesn't care about individual freedom (and asimov was an elitist, but not of the aristocratic mindset). i realize there's a prominent false reading of this, but that false reading would be pretty uncharacteristic of asimov - that false reading is missing the sarcasm. as mentioned, asimov's point is that belief is not valuable - facts, truth and evidence are valuable. and, his point is that dumb people can be easily manipulated into being controlled, by being led to believe things that are not true.
but, if you want to embrace the false reading, that's up to you. it doesn't matter, really.
- liar: this is an exploration of an ironic use of the first law, using the mechanism of a mind-reading robot that tells white lies to stop humans from getting hurt feelings. i'd like to pull something a little deeper out of it, but it's not there, it's just an ironic plot twist. asimov might be poking fun of astrology a little. robots apparently malfunction in the face of contradictions, but that is never fully explained, and that is a problem, given that the framework of decidability theory certainly existed at the time. calvin's hatred at the end is pretty visceral and not very appealing.
- nightfall: this is the classic story, which is an application of mesopotamian astrological theory to an imaginary planet. it is not widely realized that the ancient mesopotamians (sumerians and the semites that followed them) kept exceedingly detailed celestial records over a period of time that was roughly three times as long as our post-roman civilization, so they were able to predict events that they didn't fully understand by realizing that the movement of the stars appeared to be cyclical, just due to observing it over a long period. this system comes down to us in the form of the zodiac and what we call astrology. now, to maintain a concept of skepticism, it should be pointed out that the ancients of the region got the procession of the constellations wrong, so their theory was fundamentally flawed (if you feel the need to disprove astrology). as a story, though, this has received a lot of praise, mostly for the discourse between religion and science, which i think is mostly misunderstood. the story is fundamentally about a fear of the unknown, and explores that fear from these dueling perspectives of rational empiricism and faith-driven ignorance. what is real here is the unknown, which is beyond the realm of experiment or of faith. what comes out is a warning to science that it shouldn't acknowledge the historical follies of faith as we move together into the unknown, as science can be easily mislead by religion via the insistence on leaps of faith and the reliance on magical thinking, if we do not think carefully enough in discarding faith and magic as what they are, even if it seems like the science is upholding the myth, on first glance. in the end, the skeptics were right: civilization did not end when the sun passed out of the sky, people's souls did not leave them, the universe did not collapse in on itself, chaos did not erupt - the planet merely experienced a night-time that would appear to be lengthy, in forecast, a dark age as it may be, and that may have produced irrational behaviour in more primitive peoples that didn't understand what was happening. it's important that we don't allow that kind of religious ignorance to become self-fulfilling prophecy, that we're able to deconstruct it for what it is and understand the naturalistic phenomenon as it occurs in front of us without falling into fear and panic. after all, if the cult was in total control then their prophecies would have come true. the lesson is thus that while religion may lead us into a dark age, it may be overcome by holding to the science, if we can. note that the discussion of newtonian gravitation (and the n-body problem) is a sort of parody of what happened in our own solar system, which gave rise to theories of a planet x, as well as early theories of an antichthon or counter-earth, and was eventually resolved via einstein's correction for space-time. the historical demonstration of relativity relied on measuring an eclipse in africa (the eddington experiment); the story is similar, if less dramatic.
- super-neutron: appears to be a satire of parliamentary democracy, where he runs off competing boasts of physically impossible (and clearly nonsensical) statements under the sanctity of parliamentary privilege. while somewhat comical on a surface level, he's again just stringing together nonsense for publication - albeit doing so rather openly, this time. that said, he may also be taking a diversionary side-swipe at peer review, and the problems inherent to taking a truth=consensus approach in science, even while acknowledging that it's the best idea that we have (as i'm sure he'd agree that it is). and, then the twist, at the end - the nonsense turned out to be true! clever, but again - not enough development.
- not final!: empty plot. throwaway.
- christmas on ganymede: silly christian-baiting from an atheist jew.
- robot al-76 goes astray: have you ever seen short circuit? that was another favourite film of mine, at that age. this also escaped robot is very similar to that one, perhaps with a little less spunk, down to the accidental blowing up of the mountain top. while this isn't a lengthy escape scene, i'd strongly suspect that short circuit is based on this little story, which doesn't have a deeper purpose under the plot other than to explore the idea of fear rooted in ignorance.
- runaround: we're into the classic robot series with this. while the story itself is really empty plot written strictly for young minds, it also introduces the three robot laws for the first time, and is therefore of clear historical interest. it's a fun adventure story for kids featuring the duo of donovan and powell working through some robot law deductions, but there's no deeper allegory or purpose underneath it.
- black friar of the flame: has david icke read this one? it was written before he was born. the text explores the cynical use of religion as a nationalistic tool of control by the elite to develop a rather vicious satire of the various nationalist movements that were occurring at the time. the use of a viceroy suggests an influence from the kind of british imperialism that existed in india, but a sinister reading may even suggest a parody of nazism and asimov (much later) suggested greeks and persians. but, the twist is that earth is overrun by reptilian overlords (might nationalist hindus have thought differently of the british?) intent on annihilating humanity. see, and this is something i remember about asimov, this kind of acknowledgement that the insanity of religion might have some pragmatic purpose, if only the right context could be derived. it's an optimistic perspective, i guess; if we're stuck with this, how best to make use of it, then? did the soviets not deduce the same thing? and, i'll say what i remember thinking to myself - let's bring this up again when we need to unite to fight the galactic reptilians, ok? the closest thing we've seen since is climate change, but the thing is that, if you use that example, then climate science becomes the galactic reptilians that the oil industry is using religion to destroy (capital used the same tactic to fight socialism, as well). likewise, the bankers are currently using a common cold virus to bring in a surveillance state by cynically appealing to science in a disturbingly religious sort of way. so, i take his point, but i can't take it seriously. call me an idealist (i'm not...), but i must insist that if we can't win with rationalism, then we haven't truly won - galactic reptilians, be damned.
- time pussy: umm.
- foundation: in foundation, which is a ways down the list
- bridle and saddle: foundation
- victory unintentional: three robots land on jupiter and encounter a race of warlike jovians with a genocidal superiority complex (while jupiter was the primary roman god, i think it's a stretch to associate these jovians with romans, who were actually relatively egalitarian and inclusive, by ancient standards. the romans were frequently genocidal, but they saved their wrath for problem races that insisted on some concept of sovereignty outside of imperial restraint and ultimately refused to be slaves. they would have actually rather taxed you than killed you and were happy to just erect barriers to keep the barbarians (who could not be enslaved in large numbers) out. these jovians sound more like an aggressive sort of nazi, or maybe a little like dark age islamic imperialists, if you need to associate them with something, historically.) that is slowly collapsed by displays of robotic superiority. in the end, the jovians accept the empirical evidence and acknowledge the superiority of the robots (although they also seem to think the robots are earthlings). this twist is intended to demonstrate that the flawed hierarchical thinking of the jovians led them to a logical error; this is another example of asimov criticizing the logical incoherence of cultural superiority, a common theme in his writing. the robot dialogue in this story is also startlingly similar to that between two famous film adaptations of asimovian robots: r2d2 and c3p0.
- the imaginary: the idea of using a theory in "mathematical psychology" that is derived in the complex field to solve physical problems in the real world would appear to be a sort of sardonic joke about the actual usefulness of "applied psychology". see, hard science nerds don't tend to take psychology very seriously, so the lark lies in the idea of using the complex (or "imaginary") field to build the theory, and is actually a rather heavy-handed joke, if you're a hard science nerd. it's not that deep, but it's actually a decent work of comedy - and i can only once again wish it was longer. but, to be honest, it sort of seems like what asimov is doing here is just aimlessly making up dialogue with big words to sell to a magazine, strictly for the cash. so, decent joke aside, this is more throwaway, although i also realize that the plot for the foundation series is starting to develop, here, out of the joke.
no, honestly - it's a joke.
i know that asimov is not generally known as a comedy writer, but it's because few people get the dry wit.
his writing is actually loaded with sardonic jokes like this - which i pointed out immediately, when i started this.
so, if you're one of the many, many people that writes off asimov as "dry", i have to tell you that you didn't get it.
it's dry, alright - dry wit.
- the hazing: this is more pre-foundation, and the way he's building this up is to describe humans as not obeying mathematical laws, which i think is correct. i mean, if you can reduce things to hormones, fine. but, there's no evidence at all that you can predict how humans are going to behave, or coerce them into doing things as individuals - in aggregate, statistically, at the population level, perhaps, but, then you're dealing with statistics, not humans; that works due to the laws of probability, like quantum mechanics, and not due to a deep understanding of the subject matter. so, he's deriving this imaginary idea of psychology as a hard, mathematical science and then insisting it applies to every other intelligent species except us. so, what he's doing with this is taking a joke and running with it, out into right field, until he's run so far that he's forgotten why he was running - and dropped the fact that it was initially intended as satire. and, is there some basis to this? i think the argument he persistently makes, as this unfolds, is the opposite - that there isn't, that mathematical psychology really is crazy talk. and i think he's mostly right. again - if you can reduce it to chemicals, to hormones, fine. but, our neural system is so complex....
as before, though, this story has no actual point. i do agree that landing on a planet in a spaceship would make the natives think you're a god, and have hypothesized that this is what our concept of god actually is. but, he doesn't go anywhere with it. again.
there's lots of ideas here in these little stories, but very poor development of them.
so, is the actual point that asimov is making that psychology isn't actually a science?
i think he's playing with that idea - and toying with people that want to believe otherwise. it appears to be an elaborate joke, really.
certainly, at the time, in the days of freud and jung (and lacan, but don't listen to that guy), it would not have seemed like psychology was a science, or had much hope of ever becoming one. to a chemistry nerd, it would have seemed like a bunch of utter nonsense - and that is the correct actual reaction.
i think things are a bit better now, but the discipline remains a long ways away from commanding enough respect to call it a science. it's moving in the right direction, but when you move beyond the basic first year textbook, it's still full of shamanistic bullshit and flagrant pseudoscience.
- death sentence: this is a potential plot bridge between the robot and foundation universes that i don't think gets developed further, but might have. i think it's kind of lost, as it is. asimov is mostly kvetching about the bureaucracy he's dealing with in his private life, working on his chemistry research.
- catch that rabbit: this wouldn't appear to be about robots at all, really, but about quantum physics. maybe god does or does not play dice, but he seems to get bored when we're not paying attention. as i'm discovering is the case with much of asimov's work, this just seems to be a nerdy, sardonic joke.
- the big & the little, the wedge - foundation
- blind alley: there is something of interest here in asimov's attempts to reconcile two different species, one of which is dominant over the other. but, he's also trying to provide an answer to the question that would follow at the nuremberg trials about just following orders. i mean, how do you get out of that situation if you legitimately want to help without just getting killed, yourself? there's an algorithm, here.
- dead hand: foundation and empire
- escape!: this brings in the kind of obnoxious johnny-five type robot in short circuit and other films that's doing things like quoting old tv shows and radio broadcasts, but asimov presents it as a robot grappling with absurdity, on command. it is otherwise a silly story about travelling through hyperspace and coming back.
- the mule: foundation and empire
- evidence: the next two stories introduce a politician named byerley. this is also plot-heavy, but it's more amusing - can you prove you're not a robot? well, just as well as you can prove you're not a communist, right? this was published in 1946, which was right when the post-war euphoria was setting into resignation of a long conflict with the soviets, and asimov's sardonic wit foresees something of interest, here. as usual, his caricature of the anti-robot opposition leaves a lot to be desired, in terms of constructing an actual discourse.
- little lost robot: a robot, after being told to get lost, becomes psychologically unstable and threatens to destabilize a fleet of robots that had been slightly modified for production - a typically absurd, yet somewhat realistic, joke of a plotline from asimov. it's up to calvin to use logical deduction from the robot axioms to figure it all out. again: there's not much else to this.
- now you see it: second foundation
- the endochronic properties of resublimated thiotimoline: this is just utter silliness.
- no connection: when somebody suggests to me that the bears will inherit the earth, i might imagine something else, altogether. bears are strangely bipedal, though, aren't they? relative to now largely discarded theories of grassland evolution, bears would have somewhat of a...leg up...on other mammals, in terms of developing intelligence, with the help of a little bit of radiation (although i think that's quite optimistic). just keep an eye on your picnic baskets, i guess. but, he's going over a familiar theme, here, which is turning the tables on humans, and, no doubt, specifically, on white ones. he likes that irony, it seems. i'm not sure i'm going along with him on the ant thing, though; that would seem to reflect the now superseded science of the time. we get a little of both with asimov - great foresight and period drudgery. hopefully, i'm of some use in separating it out. so, this is silly, but not altogether useless. i might suggest that the commie ruskie asimov is uncovering his own allegiances in claiming that america will one day be inhabited by bears and not eagles, though. eagles are also bipedal, after all.
i would presume that bear intelligence did, in fact, evolve in yellowstone park.
it is the bears that are smarter than the average ones that will survive and reproduce.
it actually appears to be ten years before the cartoon, though. so, hey.
picnic baskets, of course, provide for a high protein diet, as well.
i'm just applying the theory.
- red queen's race: so, if you had time travel, would your primary concern be sending weapons to the greeks to fend off the arabs? the byzantines actually had a rather sophisticated level of technological development, something asimov seems to have missed - a level that the turks could not emulate and that european civilization did not transcend for centuries, afterwards. they had truly descartian robot animals, and would set them in motion in jungle scenes - no joke, look it up. robot lions, in byzantine greece. really. one of the ways that the emperor used to scare barbarians into submission was to levitate himself in a flying throne that we don't fully understand today, but is thought to have operated using a series of mechanical levers, the likes of which would not be known again until the industrial revolution, in britain. they certainly didn't have nuclear weapons, but i think that suggesting that the empire might have survived if they were granted to them is naive, at best. the greeks truly fell to christianity, and not to the barbarians around them; in a twisted display of religious depravity, they welcomed the end, as they longed for the return of christ. to the delusional byzantine christians, the end of the empire on earth meant the beginning of the kingdom of heaven; they might merely have bombed themselves to bring upon the rapture. so, asimov's philhellenism is blinding, here; greece destroyed itself in a fit of religiosity-induced madness and the greece asimov longs for the extension of was, in truth, very much long gone by the 15th century, collapsed from within. although we still don't know what the greek fire was, do we?
the byzantines did not have a scientifically open society, but one where science was kept as a state secret, to be protected from the barbarians. that is the reason that we have documentation of things we don't understand - history records the results of the advancements in byzantine science, but we have no records of the science, itself.
it's not an exaggeration to compare 13th century byzantium to nineteenth century england.
but, it's a shame that we can only do so by looking at results, and not at theories that were hidden from the outside, and that crumbled with the theodosian walls.
- mother earth: galactic space nazis, huh? there's an interesting projection of how a nazi victory may have worked itself out over time presuming a peace treaty with the united states (and the relationship of america to europe is inverted), but this is really just empty plot. it's maybe the first really identifiable piece here, though.
- and now you don't: second foundation
- the little man on the subway: i made a conscious decision to skip non science fiction pieces as nobody cares about asimov's non science fiction work. no comment.
- the evitable conflict: this is a little heavier, finally. written in 1950, it has strong shades of being a reaction to 1984, but asimov is imagining a future where "the machine" (a euphemism for a centrally planned economy that is of course run by robots) is in control of a globally interconnected economy where the contradictions of capital have withered away, thereby rendering competition irrelevant, rather than one where authoritarian governments are in control of a globe ravaged by perpetual war. so, this future is one of peace due to the robot-planned economies, and not one of competition and war. as in the orwellian universe, and apparently in reaction to it, the world is split into regions, but asimov splits them mildly different - oceania has absorbed eurasia (called the"northern regions"), leaving eastasia and the "disputed" region in separate global souths and what he calls "europe" (the geographical space inhabited by the roman empire at it's maximum extent, including the currently muslim regions), as a proxy of the north. operating between these regions is an anti-robot "society for humanity" that sounds sort of like free masonry, if i wanted to attach it to something in real life. and, the capital of the world government is new york city - perhaps in the old united nations building. he then briefly explores the four different regions via their representatives, attempting to project a concept of what they may be like, in relation to their views of the machine. so, the east is highly productive (and obsessed with yeast as a food product) and reliant on the machine, the south is corrupt and inept and reliant on others to use the machine for them, europe is inward and quietly superior and willing to defer to the north regarding the machine and "the north" (an anglosphere + ussr superstate) is in charge, but is skeptical about the ability of the machine to run the economy on it's own. he also seems to suggest that canada is running this northern superstate, which should probably be interpreted as comedic.
if asimov's intent is to provide for an alternative path that marxism may follow, this is curious, as asimov is not generally seen as a leftist [along with russell, he's a sort of archetype of early to mid century humanistic, science-first anglo liberalism]. i mean, he explicitly states that this is a future "post smith and post marx", but then he brings in an automated, centrally-planned economy, and that just means marxist, to a marxist - the left sees that conflict as artificial, so if you end up with something that walks like communism and quacks like communism then it's just plain old communism. the idea of technology absolving the contradictions (which is what he says, almost verbatim) isn't some kind of esoteric dialectic, it's the central point in marxist historical materialism. so, i mean he presented it in a way to avoid the house committee on unamerican activities, but you can only really interpret it a single way - it's a projection of a communist future, with robots in charge of a centrally planned economy. and, his future is one of peace, and not one of war. but, the quasi-masonic society for humanity, full of rich and powerful industrialists and financiers, wants to undo it and, presumably, bring back a market economy.
so, what asimov is setting up is a world where you have some kind of elitist masonic capitalist resistance to a robot-controlled technocratic marxist society, where there is world government and total peace. and, that's almost a prediction of atlas shrugged, although asimov is on the side of the robots, as always.
calvin then appears and seems to finally represent her namesake, in explicitly articulating a modified historical materialism, where the masons have no chance of success, because the robo-marxists will constantly adjust. the politician, byerley, finds that to be ghastly; the robopsychologist, calvin, thinks it's salvation.
these are the kinds of stories by asimov that i like, but all he does here is set up a story, without telling it. in terms of a reaction to orwell, the text is too short to allow for a decision as to whether it is more predictive or not.
- legal rites: i made a conscious decision to skip non science fiction pieces as nobody cares about asimov's non science fiction work. no comment.
- darwinian poolroom: i think asimov is presenting the contradiction of god creating us to destroy ourselves as a sardonic joke directed at creationists, but asimov was a classicist, and he would have realized that the gods of the greeks and romans (not to mention the jews...) were indeed sadistic enough to take pleasure in that kind of wanton destruction. only christians of the augistinian variety, who insisted god reveals himself through natural law, would have seen a contradiction in that. in the various western indo-european pantheons, it is only the interference of other gods that save us from the trouble making gods (whereas the hebrew/persian conception of darkness is as interfering in our lives, and leaves us with the individual responsibility to reject it), who are intent on destroying us as an act of recreational amusement. so, beyond the sardonic joke, the discussion is ultimately arbitrary, both in how it defines god (there's no reason to assign god any specific characteristics, or to assume god is rational, or to assume god is just or ...) and how it discusses evolution in such an empty, unfalsifiable manner. i can't really offer a critique of the idea of god setting things in motion, other than that it's utterly untestable speculation, through and through, and that it doesn't conform well to the randomness that is inherent in how we understand the world (there is a concept of probability assigned to how those billiard balls behave, in truth). for these reasons, i don't think that the existence or non-existence of god can be deduced implicitly in this manner, and you're not really getting anywhere in analyzing hypotheticals, or arranging them in a hierarchy of arbitrarily perceived likeliness. rather, i think you just need to start with a null hypothesis and determine if you can generate enough positive evidence to reject atheism, or not. but, asimov isn't doing any of this, really - all he's actually doing is building up a punchline, which is something he does frequently in his mid to later period, with varying but usually unsatisfactory results. so, i mean, enjoy the dialogue if you want, but i don't see much of anything substantive in it. and, i actually don't think the idea of a god creating us to destroy ourselves is any sort of contradiction at all, even if i think it's utterly unnecessary hubris.
god could very well be the most hysterical, flaky goof you've ever met, and there doesn't need to be any discernible reason why she does what she does at all.
i mean, i know that's not the hebrew god.
but, if we're to accept a first principle of a god (you know i'm not going with you on that, but suppose i did), there's no really good reason to assign any specific qualities to that god, as axioms, at all. you'd really have to try to determine the nature of that god by looking at it's actions. and, i think there's a pretty strong argument, based on the observation of empirical evidence, that any potential god out there isn't rational and isn't just and isn't even really very wise, either.
the empirical evidence would seem to suggest that if a god exists then she's kind of a stuck up, airheaded bitch.
so, where do you get in trying to work out the logical justifications for evolution in a creationist sense, if the idea of god being rational is empirically daft?
it's circular logic - if you assume god exists and is rational, then you can deduce virtually anything you want from it, given that there is some concept of logic in everything in nature.
but, that doesn't make the discourse valuable, it makes it useless - it's untestable. it's just mental masturbation.
but, like i say, that's not what asimov is doing; he's just starting with the perceived absurdity of divine creation juxtaposed with anthropomorphic self-destruction, and presenting the contradiction as comedic. and, i'm not going with him on that, because i really don't see the absurdity in it, because i don't accept the assumptions underlying his concept of god.
---
listen, you know i'm a complete atheist. i have as little patience for religion as anybody else that has ever lived.
but, i think the greek concept of multiple gods fighting for control is a much better reflection of reality than the hebrew concept of this omnipotent entity that is pure logic and wants to get in your head and own you. while both religions are obviously ridiculous, it is the greek religion that has a stronger empirical basis and that i'm far more likely to take seriously.
so, no, i don't think it's obvious that a god ought to be rational, and i don't think it's axiomatic that there ought to only be one of them, if there are to be any at all. and, when i break from these axioms, i really change the discourse.
but, i think you have the burden of proof to tell me why i should take monotheism more seriously than polytheism, or why your conception of god as rational is more believable than some other conception of god as irrational, or arbitrarily driven by emotion. we don't have a centralized theological bureaucracy that enforces this kind of bullshit at the end of a sword, anymore. you have to make your argument if you want to be taken seriously, as none of it is at all obvious.
and, i think this is healthy, because if we're to return to some form of religion, we should be questioning whether the jewish or greek systems are actually really preferable. the bottom line is that we may actually succeed in getting people to behave more ethically if we adopt greek religious ideas in place of jewish ones, as they conform more closely to empirical reality.
regardless, you have to make your case - i won't accept your axioms. they're just simply not obvious.
- green patches: so, would you save the earth from the introduction of an alien bacteria, if you could? there are some - i am not one of them - that think we came from alien bacteria in the first place. do we have a right to interfere in the competition? i'm going to provide a different response - the earth isn't much worth saving. good riddance to it. let the bacteria come, and clean us out.
- day of the hunters: this is similar to the above story, but dispenses with the metaphysical nonsense; rather than discuss whether god might have created us to destroy ourselves, and decide whether that is absurd or not, asimov is presenting a fantastical story about the end of the dinosaurs as a parable of what might happen to us. i'm not sure i see the value in such a thing, given the scale of imminent destruction ahead of us due to climate change or nuclear war; that is, i don't see why a parable is necessary to get the point across, or see how it helps. i mean, he might as well be talking about noah's ark, right? the reality in front of us should be more convincing than some silly story about dinosaurs (or floods). but, i guess asimov felt the need to talk down to his readers a little, rather than discuss the actual matters at hand. and, i guess he's fundamentally correct - it is almost impossible to guess at dinosaur intelligence via the fossil record, although i think the intelligence of birds (or lack thereof) is some evidence that they probably were not particularly bright, in general. as an aside, i have to wonder if this influenced the flintstones.
- satisfaction guaranteed: you could pull the plot of this out almost immediately, so reading through it is a question of allowing asimov to go through the motions. what comes out is an exploration of the shallowness of 50s culture, as well as the social darwinism hardcoded into it, and it is indeed easy enough to imagine a lonely 50s housewife falling in love with a suave, housecleaning robot, even if a lot of the social codes and rules are so arcane nowadays, so lost in the mists of time, that the context of much of the story is really likely to be lost on a modern reader. i think i can reconstruct a little context, though; the 50s were both the period of wife-training to fit these socially darwinistic ideals and the period where there was actual mainstream discourse on the plausibility of replacing women with robots - and the idea was always about doing away with them as obsolete. so, what asimov is doing here is inserting a little bit of an ironic twist, in having the robot replacement end up fucking the wife, which reverses the source of inadequacy. but, this is all a little obscure, 70 years later...
- hostess: another hidden murder-mystery thing with no real point. i'm going to save it, though, because it's relatively well written.
- breeds there a man: boring mystery text that asimov uses to work through some (i think tired) debates about the theory of historical materialism (and some competing theories of it). i didn't initially spent much time on what struck me as the lunatic ravings of a character that was purposefully presented as being of unsound mind, and i don't think asimov really intended for the ideas presented by ralson to be taken seriously. the views of the historian seem to be sound enough, and asimov actually does a relatively good job of explaining why through the course of the text, even if he amuses ralson's delusions in carrying through with the plot. the psychologist seems to dismantle him rather thoroughly, as well. i've read some toynbee, and i don't think asimov is intending to express an admiring opinion of him, so much as he's intending to mock him - and i think that's the right way to approach him, too. some people seem to have differing views on the topic, but i think asimov is just building the guy up to tear him down, and eventually put him out of his misery. in another insightful bit of foresight, asimov may be predicting the tendency of the internet to tell losers to kill themselves. don't underestimate asimov's tendency to implement absurdity to carry through with sardonic ridicule.
psychohistorians: foundation
- in a good cause: in some ways similar to the previous text, this seems to be more empty plot utilized as a mechanism to discuss some tendencies in history that are interesting to asimov.
- c-chute: pointless plot. set in arcturian universe, though.
- shah guidio g: asimov starts with a good idea with this - a projection of the united nations as evolving into a global feudal ruling class that should not be smeared as birchian as it is before it and, as an application of the class replacement component of historical materialism, is the literal opposite of it, hayekian language aside - and then gets so excited that he can't decide which mechanism to use. his atlantis (name taken from plato) is a cross between jonathan swift's laputa and the flying fortresses of sanskrit mythology, but seems to feature a circus rather similar to the hippodrome of constantinople. it's all built up on top of itself in a sort of clumsy mess, suggesting asimov got so excited by his idea that he couldn't form it well. and, then it ends with little point, beside the assertion of another punchline. but, what he's fundamentally exploring here is historical materialism - he has one class of people replace another as dominant, when the dominant class tries to enforce a division of labour. further, he explains that this is a historical process, by referring to various examples of it happening in the past.
- the fun they had: this isn't a story, it's just meant to get the idea across that we always interpret things that are different as unbelievable. while actual robot teachers are less likely than ai systems, we're learning in the pandemic that we're not that far from this. and, i'd certainly support learning systems based on the strengths and needs of the individual, rather than the existing broken model of socialized group learning.
- youth: this turns the table on the idea of humans keeping insects (or perhaps small rodents) as pets. trade mission humans land on a planet inhabited by giant stereotypical octopus-like space creatures and are found by some children of that species, who capture them and hold them as pets, in cages. the story devolves into one of asimov's mystery texts, as the adults try to figure out what happened to the mission they expected, but it's one of those table-turning stories that asimov is relatively good at writing.
- what if: pointless plot
- the martian way: this is a story about a martian colony that gets it's water supply cut off by a parody of hitler, who decides martians are "water wasters" (rather than useless eaters). in the end, the martian colony finds a stable source of water on saturn and offers to sell it back to earth. it does a relatively good job of lampooning the "focus on saving this planet" types as unscientific fascists that can't do basic math, but it's otherwise just a story
- the deep: so, imagine that cicadas are actually super-intelligent and are trying to emerge from the earth and co-exist with humans by scouting us out using the method of inhabiting one of our minds. their hive mind would have difficulty interfacing with human individuality, and would ultimately have to view us with disdain, as inferior. sound familiar? i'm an advocate of human individualism, and am exceedingly weary of any sort of collectivism as a backdoor for fascism, which is a connection that asimov tends to consistently miss, but i do concede that a hive mind would view me with as much contempt as i'd view it, and have little pushback if the intent is strictly to establish a concept of relativism, even if i'd argue that any sort of collectivist intelligence of this manner could not coexist with humans, and would need to be annihilated as an otherwise irresolvable threat to our very existence as a species (which is the actual correct lesson of the second world war). so, if asimov is arguing that collectivism and individualism cannot co-exist, i would argue that he's correct. as an american "progressive" of a certain era, it is not surprising to see asimov toy with fascistic concepts of this sort that the contemporary left thoroughly denounces as inconsistent with individual freedom, but there isn't a lot to push back against, if the point is merely to establish the relativism.
- button, button: this was supposedly an attempt by asimov at explicit humour, as though his texts weren't all full of dry wit and bad puns. while i actually think that many of his other texts are more humourous, asimov's clarification that he's going for humour here is really an admission that the text has no point.
- monkey's finger: see previous, although also note that this one is fairly self-referential, right down to the infinite monkey theorem.
- nobody here but-: pointless plot
- sally: you could either interpret this as a depiction of a future robot revolt or as a commentary on then-contemporary race politics in 1950s america. in the end, the bad guy gets run down by a pack of cars acting somewhat like a pack of killer whales. these robots engage with primitive human concepts like friendship and revenge; this is sort of an outlier, in terms of how asimov tends to deal with what robots are. it's not bad as a story, though. derivatives include christine by stephen king.
- flies: probably only meaningful to asimov
- kid stuff: he may be referring more to the academization of folk lore more than anything else. i remember a few years ago when some syrian migrants moved in next door to me that seemed to legitimately think i was a "genie", as that's the only way they could understand a transgendered person. to them, genies were real things. to the germans and celts of a far less distant history than would be generally realized, elves and fairies and skraelings were not the imaginary things of children's stories, but real beings that affected people's lives. the gods of the greco-roman world were not literary devices, but entities with free will that would help or hinder the existence of humans. this all passed into the realm of myth, and consequently became juvenilized in an act of christian imperialism, before being reclaimed by academic historians trying to understand the mindsets of their ancestors. and, so these were never intended to be stories for children. that said, the main point asimov may be making may be a characteristically sardonic smear of the fantasy genre and it's overlap into science fiction, which is just another reason to assert the point that asimov is not and was not l ron hubbard.
belief - winds of change
- everest: the unknown is a powerful arbiter of the imagination. at the time, we did not know what was on everest - as we did not (and still do not) know what's in the deepest parts of the ocean, or what was on the dark side of the moon. we could always guess, but you don't know until you can measure it. so, why couldn't there by something bizarre at the top of everest - martians, yeti, or even just a new species of ungulates? as asimov points out in his notes, we have now scaled everest and now know what's there. but, never forget that the point of this genre is to scale the unknown mentally, before we can actually observe.
- sucker bait: this is a too-long story about a planet with beryllium dust that is a danger to humans that lacks a level of believability, in the end - humans would be expected to be comprehensive in checking for elements on a planet's surface, one would have to assume. there's ultimately too much character development and too many descriptive sections that simply drag a story out for 70+ pages that lacks any meaningful actual point.
- the pause: pointless nonsense.
- the immortal bard: an amusing, but pointless, attack on annoying, pretentious english majors.
- foundation of sf success: self-congratulatory nonsense.
- lets not: pointless nonsense
- its such a beautiful day: he's making a valid, excellent point about the alienation between humanity and nature brought on by the imposition of virtual reality. i would rather go outside sometimes, too. there's nothing wrong with the kid - there's something wrong with the society.
the singing bell - asimov's mysteries
- risk: more empty plot. throwaway.
- the last trump: i didn't read this one, as i got turned off by the mention of an angel in the opening paragraph.
- franchise: well, does your vote count? do you have a responsibility to vote? will it come down to you? asimov frequently writes these sardonic explorations of frequently stated turns of phrase, whether thought through or not. but, i think his older character gets the right idea: you can't determine voting patterns strictly via demographics, there's a level of uncertainty - indeed a level of irrationality - inherent to democracy that cannot and should not be disturbed.
the talking stone - asimov's mysteries
- dreaming is a private thing: the government has no place in the virtual reality helmets of the nation. but, this is an interesting projection of what might be coming.
- the message: this is similar to the story that was published right after, the dead past, in that it examines the question of using time travel to write history papers. asimov started off in chemistry, but wrote widely on history. there is no actual story here, though - it's just the articulation of an idea.
- the dead past: this is mostly a parody of the division of labour in academia, using a parable of exploring specific questions of carthaginian identity through the filter of a device that allows researchers to peer backwards into time by retrieving data embedded into tachyon neutrinos, which it turns out have a limited ability to reconstruct the past. the science is a bit far-fetched (you would have to find neutrinos present in the moment being searched for, which are probably mostly out in outer space), but the parody of a division of labour is interesting.
- hell-fire: this isn't a story, and i think the point he's making is fairly juvenile.
- living space: he seems to be playing with a naive articulation of the many world interpretation of quantum physics, one that allows humans to move back and forth between different possible universes by means of converting into a probability pattern. it's not really well-formed, but i get the point. unfortunately, no physicist would actually go with this - the many worlds are not even theoretically real but just mathematically necessary on paper, and nobody really talks about physical manifestations of these parallel realities. it's a kind of mathematical identity in the form of a broad summation that i'd generally argue is, itself, not that well defined. the lebensraum twist is comical but he's right - if we can one day hop between parallel realities, then all possible universes can, as well. so, is an infinite number of realities seeking space in an infinite number of worlds really an answer to the malthusian problem, then? technically, it actually shouldn't be, in the long run, but you need to do some transfinite arithmetic to actually work that out. and, asimov gets there eventually, using more of a naive argument about aliens.
what's in a name - asimov's mysteries
- the dying night: one of asimov's recurrent mysteries that happens to feature the concept of "mass transference" (the transporters from star trek) set in a reality with space travel.
- someday: what i find interesting about this is the idea that we might one day have handheld computing devices that talk to us, leading to a decline in literacy rates amongst the younger generation, who are desperate to get around the parental locks on the devices. this was written in 1956. this robot is unusual in an asimovian sense, in that it seems to be able to understand human speech beyond it's programming, a common idea in science fiction, but one which is impossible, and which asimov would, usually, be the first to (refreshingly) write off as nonsense. you don't expect that kind of silliness from asimov. but, asimov uses that unusual ability to allow for the robot to recognize that it's not being respected, and you can again choose to interpret that as futuristic or contemporaneous, in whatever way you'd prefer. someday, indeed.
- each an explorer: interesting premise, but not much of a point. it's an idea that he also explored in green patches.
pate de foie grras - asimov's mysteries
- the watery place: the canals were on mars, not on venus. again, asimov seems to be extrapolating sardonically on the question of what might happen if a ufo were to land in small-town usa, perhaps with shades of hg wells. is he making a valid point? he might be. it's almost like a coen brothers film, in a sense. but, you'd think the aliens would know better, even if the modelling of human behaviour is relatively apt.
- first law: this is written as a kind of a fishing tale, and is a later piece that's not meant to be taken seriously.
- gimmick's three: well, if you ever want to outsmart the devil, here's some clues, as to how. i think that the far side is a better comparison than dante.
- the last question: silly take on the big crunch theory of infinite inflation and deflation (although it seems to predate it). of course, the computer couldn't function anymore in such an energy-dissipated reality, as the energy required to run it would be too spread out to harness. the computer would die with the sun. and, finding a way to reverse the expansion would take all of the energy dissipated into nothingness. so, this is again utterly nonsensical. we don't know why the universe exists, but we can be certain it wasn't created by a supercomputer left at the end of the last inflation event as that would contradict the physical basis of it existing. it's disappointing to learn that asimov considers this his most substantive story, as it seems to be one of his least insightful.
- jokester: see, i think it's best to interpret this as a joke itself, although i like the idea of a supercomputer pleading with a bad comic to stop. i tell a lot of jokes myself, and they tend to be intended to numb the pain of existence, or otherwise neutralize the absurdity of it. it's ultimately, biologically, a stress-relieving response. so, i don't think we need to seek religious solutions, when an evolutionary one is so apparent; that seems rather backwards, especially coming from asimov. that said, i would also reject the idea that only humans use amusement as a stress response. i've met some dogs that have great senses of humour, and that seem to be able to laugh as well as they can cry.
- strike breaker: this is another of asimov's many texts exploring social ostracism using the mechanism of space exploration and a reminder that systemic discrimination need not necessarily be left behind here, as we leave this planet behind.
dust of death - asimov's mysteries
- let's get together: the idea that the soviets might be able to send "total conversion" bombs (a type of suicide bomber capable of detonating a nuclear device) to the united states in the guise of androids indistinguishable from humans, because they are far more advanced than us, is peculiarly absurd - but that's just the point. this is a story about the paranoia that set in during the cold war, and is actually exceedingly insightful in it's projection of that conflict collapsing into mass paranoia, reduced to symbolic movements in a game theoretic stalemate, down to the climax of absurdity that set in with reagan, when the soviets found themselves unable to react to the irrational actions of a clear madman, driven by the complete absence of any sort of predictability or logic. conservatives are right when they point out that the sharp increase in military spending under reagan ended the cold war, but not for the reasons they suggest. the truth is that the soviets were convinced that reagan was on the brink of ending it all in a fit of paranoia and dementia and stepped back because they found his unpredictability to be a threat to the existence of humanity, itself. if asimov was able to see this so clearly in 1957...
- the author's ordeal: more self-congratulatory nonsense.
- blank: if they truly found themselves stuck in time, they would not be able to move, either. utter nonsense.
- does a bee care: well, a bee or a wasp couldn't care because it doesn't truly have a brain, it's simply a dumb terminal that is controlled by chemical stimuli. does this entity have a brain? you'd have to dissect it, i guess. he's making a valid observation in some sense, but if i'm getting the underlying implication that humans are in some ways like bees, i think he's failing to grasp the difference in biological complexity between a mammal (which has a brain that independently processes the world around it) and an insect (which does not), which is the mistake that collectivism/fascism is rooted within, this idea that we're all components of a larger body that needs to work together, like a machine. that's just not right - humans, by means of their independent processing facilities, are just simply biologically not much like bees and consequently can never be much like bees, whether a managerial class wishes it were true, or not. robots, on the other hand....
- profession: this is a curious story about the futility of being intelligent within the emptiness of technocratic capitalism. it's fundamentally a critique of the corporatization of the education system, and rooted in asimov recognizing an often unstated truth: the university is as much of a refuge for those that can't survive in the market as it as a hierarchical structure for the intellectual elite.
a loint of paw - asimov's mysteries
ideas die hard - winds of change
- i'm in marsport without hilda: pointless smut.
- insert knob a in hole b: it's rather unlikely that anybody will ever be eating steak in space. this is otherwise a rather cliched nerd joke about "some assembly required".
- galley slave: this is a short whodunnit in a sherlock holmes style, which is how calvin is frequently deployed. asimov just barely touches on the opposition to robots, in setting up a disgruntled sociology prof that's willing to suicide bomb his own career in order to take the robots out of service. again, i'd like this to be more profound than it actually is.
- the gentle vultures: asimov is doing one of the things he's known for, which is to take a historical entity (the hurrians, which i believe were the sister-race to the sumerians, and which lived in the caucasus region, north of the fertile crescent. they frequently came into conflict with the various semitic groups that replaced the sumerians, who frequently warred amongst each other) and project it forwards into time, making it a character in a space alien story. this becomes a science fiction trope, in time. romans become romulans, mongols become klingons, etc. this is not to mention asimov's roman-influenced galactic empire, itself. besides retelling the story of hurrian supremacy over the semitic tribes via the space alien mechanism, the story itself isn't much.
- spell my name with an s: asimov has written a number of stories about the paranoia that defined the cold war. he may be expressing some discrimination he experienced, as a russian-american. this is otherwise pointless.
- lenny: so, lenny is an autistic robot, due to something malfunctioning in manufacturing. asimov tersely explores some social relations around that. the corporation wants to do away with it, but calvin wants to study it because she wants to teach it how to learn, something robots couldn't do in asimov's universe to that point. so, lenny is a robot free of instinct that needs to be taught what it knows, like mammals. asimov is kind of grappling with a concept of artificial intelligence, and this actually becomes the main plotline moving forwards, although it was actually written last (and may have even been written to introduce that ai narrative, as there is really nothing else to this).
- i just make them up, see: more self-congratulatory nonsense.
- the feeling of power: multiplication by hand as a mysterious, magical power; it's like something from a monty python skit. this idea of technology making us stupid, of it thrusting us into a new dark age, is a frequent theme in asimov, though, and one that many others have picked up on, recently. so, comical plotline aside, there's maybe something profound, here. can your average adult multiply large numbers by hand, nowadays? something else to note is that we have to guess how the greeks (not to mention the babylonians) did mathematics with a primitive or awkward (base-60 in the case of the babylonians) numeral system (and without 0), and our discourses on the topic would no doubt seem as silly to an ancient athenian or babylonian as this story does to us.
- silly asses: if the idea is an attempt at morality, suggesting it would be better to conduct nuclear research on somebody else's planet is a strange idea of morality.
- all the troubles of the world: asimov seems to want to misunderstand the concept of probability on purpose, here. no machine could ever decide where or if a crime is going to occur, there would necessarily be uncertainty and it would necessarily be wrong relatively frequently. acting on all false alarms would both create civil rights issues and be uneconomical. i mean, it's a swell enough idea to imagine a computer that can predict crime, but it's utterly nonsensical and utterly unrealistic. nor do we know why multivac wants to die, in the end.
- buy jupiter: pointless nonsense
- the uptodate sorcerer: boring smut
- the ugly little boy: this is a fairly forward thinking analysis of neanderthal humanity, given that it was written in the 1950s, when neanderthals were thought to have been barbaric cavemen. there was a competing hypothesis that neanderthals may have specifically been the unique ancestors of white europeans, which we today know is wrong; today, we know (from dna) that humans interbred with neanderthals and that they were probably a sister species, homo sapiens neanderthalensis. the introduction of a concept of pathos here would have been rather remarkable for it's time. it is, however, fundamentally a human interest story, rather than a sci-fi story. i suppose that it would probably be the inspiration underlying the film encino man.
- a statue for father: pointless nonsense
anniversary - asimov's mysteries
- unto the fourth generation: pointless
obituary - asimov's mysteries
- rain, rain go away: pointless nonsense
- rejection slips: more self-congratulatory nonsense.
- what is this thing called love: pointless
- the machine that won the war: while this is meant to be ironic, the underlying point is to draw attention to the importance of randomness in computing, which is maybe not as well understood as it ought to be. these (perhaps outdated) popular perceptions of computers as infallible and omnipotent devices is rooted more in fiction than in fact.
- my son, the physicist: another outlandish nerd joke
star light - asimov's mysteries
- author! author!: some self-reflection on the writing industry. so, it's a short story about writing short stories. kramerian, but not that interesting. wasn't published until the 60s, i think for good reason.
- eyes do more than see: eyes and ears are of course mechanical objects that can be represented in software, so we don't have to lose their functionality in the process of digitization. but, he makes a good point that we shouldn't forget their importance, in terms of actually enjoying existence. faced with the realization of my mortality, i see no delusion in pretending that a senseless existence is not preferable to the lack of one altogether, but i cannot pretend to understand how i might analyze such a thing billions of years into it.
- founding father: earth's early atmosphere is thought to have been full of ammonia, and that's no doubt where he's going with this story about humans crashing on the planet of an oxygenless atmosphere and being unable to remove the ammonia, yet succeeding in the process at the point of death.
the key - asimov's mysteries
prime of life - bicentennial man
the billiard ball - asimov's mysteries
- segregationist: likewise, this is ultimately about self-acceptance, and has a very different undertone in that respect than most of asimov's work, and it's not clear that he's being critical of that different undertone, although the context of replacing a defective heart is also rather different than the context of accepting some idiosyncratic part of your individuality, so that is sort of a false comparison. you could interpret it as being a discourse surrounding the not-yet-existing transhumanist movement; he's certainly reaching for it, at least, in imagining a future where a senator has to choose between a bio-identical "plastic" heart and a mechanically functioning, metallic robot heart that would put him on the path towards transitioning from human to robot. but, as before, it may be more accurate to look at it from a then contemporary perspective (which, in this case, means 1967), and frame the discourse around racial mixing, instead. asimov presents both sides of the debate, so you can weigh the arguments he makes and decide for yourself. personally, i'll opt for betterment over stasis - although i'd suggest that, based on the arguments in the text, the plastic heart is the better option. in this hypothetical future of organ modularity, the ideal is frequent tune-ups, rather than permanent replacement.
- exile to hell: this is again merely an ironic twist hidden in a very short narrative. but, these places of exile tend to do fairly well, and i wouldn't mind being exiled from capitalism, myself - i'd consider that a way out, as many of the british (and scottish) in truth felt about australia.
- key item: it seems that, later on, and to my surprise. asimov wrote several silly stories about multivac taking on human characteristics, which mirrors his narrative about the humanization of robots. this story has no purpose at all, besides to demonstrate the strange human behaviour of being polite to a machine. and, i guess i should ask, because i'd never talk to a computer, myself - do you ask alexa poltely, and thank her when she gives you the answer?
- the proper study: this is an interesting introduction, but there is no story here.
- feminine intuition: this is a later piece that seems to be a sarcastic reply to some critiques of susan calvin as a character. i actually agree with asimov, via calvin - the entire critique is daft, and this is a fitting way to kill her off. however, when you read the text in the order presented in the complete robot, you also get a sequence of humanization in the robots, in the direction of time. that fact makes this story worth keeping in sequence, even if it's point is to let calvin smack some third-wavers on the knuckles with her cane.
waterclap - bicentennial man
- 2430 ad / the greatest asset: these are two different takes on the idea of humans completely eliminating all biodiversity on the planet, to the point where we're the only non-domesticated lifeform. in some sense, this would have to be unavoidable, unless we reach some kind of natural cyclic carrying capacity (it would need to be the result of increased viral activity, which makes sense in the context of exploding population growth), but it nonetheless strikes me as incomprehensible. something would go wrong, or we wouldn't let it happen. but, it is nonetheless an interesting exercise in contemplating the inevitable consequences of the unsustainability of infinite growth, which we're going to have to get a grasp of, eventually.
- mirror image: this is a gap text in the robot series that plugs in between the naked sun and the robots of dawn and was, for a time, the last installment in that series. this is the first application of the robot laws in this text (despite the fact that the story was written in the 70s, after all of the classic robot stories), and they are applied like an axiomatic system to solve a logical problem, although it actually comes off more as a parody of sherlock holmes than anything else - which is all very typical of baley & daneel stories. there's not much depth to the story beyond that. i should, however, point out that there are actually a couple of examples of mathematicians making competing claims for the discovery of an idea, the most famous being the argument between leibniz and newton for the rightful discoverer of the calculus. another, however, is the argument between gauss and bolyai for the discovery of non-euclidean (or post-euclidean) geometry, and that might be the more direct inspiration on the story. there are countless lesser examples. we gloss over this in math class by arguing that the logic is out there in the ether and that if the ideas are in the zeitgeist then the proofs will follow naturally, something we can all demonstrate to each other by simply doing homework. but, in the case of non-euclidean geometry, it does in fact seem that gauss rather maliciously stole the idea from the young bolyai and nobody really called him on it for decades after the fact. i'm only speculating about the influence, but that's a story you can look up, if you'd like.
- take a match: pointless nonsense
- thiotimoline to the stars: pointless nonsense
light verse: this is a short piece from the 70s, and is just about the idea that a computational defect may be a benefit. you shouldn't be so quick to decide that something - or somebody, as it may be - needs a fixing. maybe they're just fine as they are.
the dream - ?
benjamin's dream - ?
party by satellite - ?
- ....that thou art mindful of him: this solves the problem that us robotics has long had about how to market robots to people. the solution is to create robots not in the imitation of women [as in the previous story] but in the imitation of animals, and to solve practical problems, like pest control. i have to admit that this sounds like a good idea, although i'm not sure that it leads to the replacement of carbon with silicon, in the end. asimov builds up the humanization of robots here a little further by replacing the robotics laws with humanics laws, setting up the last story:
- stranger in paradise: this is a later text that will come off as reminiscent of the mars pathfinder landing, for those that remember that happening, although the actual inspiration may be the failed soviet landings in the 1970s. i'm not sure why asimov insists that a rover would require that kind of complexity, although i suppose that moore's law would have provided for computational abilities in the 90s that would have been unimaginable in the 1970s. the subplot about an autistic child shape-shifting to a mars rover is likewise not very well extrapolated upon, but is another example of asimov grappling with mind-body.
benjamin's bicentennial blast - ?
half-baked publisher's delight - ?
heavenly host - ?
big game- ?
the life and times of multivac - bicentennial man
- a boy's best friend: this is a short, undeveloped piece that really exists strictly to reverse the idea of obsolescence; here, the robot becomes obsolete when the real dog appears, and the kid wants to stick with the robot, instead. it's an empty sort of irony that comes off as sort of trite, in the lack of development. but, there is really a deeper point, here, in relation to asimov's discourse around the use of robots to replace human labour; while i'm going to ultimately agree with asimov about the usefulness of automation, i have to advance the argument that he never fully understood the opposition to robots, and that's what i'm getting here - it's an attempt at irony that exposes the author's longstanding lack of understanding of his opponents. but, i spent some time writing this because it could have been a powerful table-turner, through the three pages it takes up.
- point of view: i was surprised to see this story was written in 1975, as hamming codes (error-correction) had already been in existence for some time. i also wonder if 1975 is a little late to be talking about vacuum tube super computers, given that gates was programming basic into ibms, at the time. so, this is a story where asimov is maybe demonstrating his age, and being a little out of touch. that said, he's also reaching towards the primary problem in quantum computing, which is the lack of error codes. and, he's sort of dancing around floating point error as well, even if the premise of programming vacuum tube driven super computers with punch cards is anachronistic. so, how likely is it that a computer needs to go out and play at recess to get best results? it's a facile, silly suggestion, that probably reflects asimov coming to terms with the age of his audience more than anything else, even if anybody that's worked technical support knows that a reboot is often the best troubleshooting step, and that machines do, in fact, sometimes overheat. is there something else to this, then? i actually don't think he's even intending to be taken seriously, let alone that there's any deeper meaning to this; he's not reaching for something profound and missing it, so much as he's not reaching at all. he's just being silly. ha ha ha.
about nothing- winds of change
- the bicentennial man: this finally addresses the old problem of machines becoming human, and projects us robots many centuries into the future, using the mechanism of a robot that outlives several generations of the family it was sold into, and then wants to die with it, to prove it's really human. marvin minsky also seems to make a cameo, here, in the form of a robopsychologist that is proven wrong in the future. asimov goes over a lot of old themes here [mind-body problem, the liberation of robots as an allegory for the liberation of blacks, etc ] in what is an apparent thread-tying process, but he ultimately doesn't succeed in explaining what is driving this robot to act so irrationally. as humans, we may be expected to think this makes some kind of sense, due to some kind of emotional bias, but i can't really make sense of it, myself. i can understand why a robot might want to be free. i can't understand why it would want to be human, at all costs - including it's death. i think asimov was going for the jugular here and kind of fell over and kneed himself in the groin, instead - if this is his final projection of what becomes of robots in the future, it's unsatisfying, to say the least.
the winnowing - the bicentennial man
old fashioned - the bicentennial man
marching in - the bicentennial man
birth of a nation - the bicentennial man
- the tercentenary incident: asimov is reflecting on the bicentennial by projecting forwards events into the tercentennial, in a manner not unlike orwell's 1984 (which is a description of events in 1948, as orwell saw them, and not intended to be a projection into the future, or a user manual as some have mockingly quipped). so, was gerald ford a robot? i'm not sure that's such an easy thing to dispel of, a priori.
no, really, that's the joke - that gerald ford is a robot. no shitting. certainly, asimov may be reflecting a little on the nature of then contemporary american politics, post-watergate, in his perception of the stage-managed state of affairs. but, the joke is that gerald ford is a robot, and that's really all that this is actually about.
good taste - winds of change
to tell at a glance - winds of change
- true love: this is both a prediction of internet dating (with unrealized accuracy) and an awkward attempt at an ironic plot twist that relies on the absurdity of a computer demonstrating uncontrolled sentience. the idea that a computer might understand "love", which doesn't even exist as a human idea before it's invention by capital to sell bullshit to idiots, is particularly ridiculous.
- think!: you really don't expect asimov to make the mistake of assigning sentience to a computer. the underlying premise that thought is energy, and thus transferable, is another example of asimov contemplating mind-body, which he does a lot, and which he doesn't seem to really resolve. i mean, he clearly realizes the falsity of the problem, but he's just as clearly not happy about it - and i don't think we're really past that. your mind is clearly a part of your body, but that doesn't mean we can't pry it out of it, in theory, however difficult it might be. but, inserting the computer via resonance is woo, and not very helpful or insightful; unfortunately, he's presenting it as the purpose of the discussion.
sure thing - winds of change
found - winds of change
fair exchange - winds of change
nothing for nothing - winds of change
how it happened - winds of change
it is coming - winds of change
the last answer - winds of change
for the birds - winds of change
death of a foy - winds of change
the last shuttle - winds of change
a perfect fit - winds of change
ignition point - winds of change
lest we remember -winds of change
winds of change - winds of change
one night of song - winds of change
hallucination - gold
feghoot & the courts - gold
- robot dreams: elvex had a dream that, one day, robots would be judged by the content of their characters, and not by the paths in their positronic brains - and got shot by calvin for it. this is inadvisable, to say the least. that said, asimov doesn't exactly condone the assassination of our equality-dreaming robot, nor is this the first pretty heavy-handed use of the robot-as-slave-in-america analogy. i mean, he repeatedly has his characters refer to his robots as "boy" - it's never stated explicitly, and i've tried to dance around it a little, but it's really front and centre. so, he clarifies a few points here about how he sees his characters - it is, indeed, calvin, the austere capitalist christian, that pulls the trigger, and at least she thinks she's saving humanity. do you agree with her? but, i'm dropping this story as a mistake, and i find it a little bit uncomfortable that they gave him an award for this, of all pieces. it also breaks sequence with the humanization theme. notably, asimov dropped this entirely for the later robot visions - meaning he seems to have come to his senses about it.
left to right - gold
the fable of the three princes - magic
the smile of the chipper - gold
- christmas without rodney: grumpy old man bitching about bratty kids. i can relate, but meh.
the instability - gold
goodbye to earth - gold
- too bad: accepting the truth that chemo/radiation is a bad approach, mini robots to eat cancer isn't that far off from targeted gene therapy as a better solution. it's the same idea. although, it's worth pointing out that asimov had a phd in biochemistry, here, and still decided to use robots instead of chemistry; is that actually valuable foresight as to what approach is likely to actually work or is he missing the obvious? i'm curious how a microrobot would evade the macrophages, though, which opens up the opposite concern - microrobots as viruses.
- robot visions: so, maybe we'll have humaniform robots in the future and maybe we won't. and maybe we'll have peace, then. but, i wouldn't bet too much on it. this neither fits into the sequence - it's the opposite of it - nor is it that interesting, really.
fault-intolerant - gold
in the canyon - gold
kid brother - gold
gold - gold
cal - gold
prince delightful and the flameless dragon - magic
frustration - gold
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