The metaverse, mass surveillance, and the notion that America can be "made great again" – all concepts eerily reminiscent of dystopian fiction from 100 years ago. As we mark the 85th anniversary of Jorge Luis Borges's groundbreaking novel, The Garden of Forking Paths (1941), it becomes apparent that some authors have been eerily prescient about our current societal plight.
Borges's Ts'ui Pên navigates an infinite web of divergent, convergent, and parallel times, where all possible paths are chosen. This concept foreshadowed the multiverse hypothesis in quantum physics, a theory first proposed by Hugh Everett in 1957. Yet, it seems our world has become a self-fulfilling prophecy, with the tech barons rebranding dystopian warnings as motivational texts.
From Yevgeny Zamyatin's We (1924) to George Orwell's Nineteen Eighty-Four (1949), Aldous Huxley's Brave New World (1932) and Margaret Atwood's The Handmaid's Tale (1985), these classic novels have become eerily relevant in today's world of surveillance capitalism. In all three futuristic societies, an ideological super-state prohibits any form of privacy, as solitude is mistrusted because it encourages contemplation and possible independence of thought.
Meanwhile, authors like Philip K Dick predicted the dangers of pre-crime operations, predictive algorithms, and facial recognition in his 1968 novel Do Androids Dream of Electric Sheep?. His concept of "kipple" – useless objects that drive out non-kipple – has become a haunting metaphor for our world's addiction to algorithmic trash.
In Neal Stephenson's Snow Crash (1992), the metaverse is an immersive virtual reality, requiring a headset. Mark Zuckerberg's 2021 rebranding of Facebook as Meta marked a striking similarity to Stephenson's vision. William Gibson's Neuromancer (1984) popularized the term "cyberspace," which has become synonymous with our online presence.
These authors remind us that science fiction is not just entertainment but a means of exploring and critiquing our present societal choices. As Atwood said, future fictions are deep examinations of the present, and some guesses at the future are better than others – or so they would have you believe.
As we navigate this era of mass surveillance and "making America great again," it's essential to remember that the line between utopia and dystopia can be blurred. Perhaps the most utopian thing we can do is find a balance between the pressures of kipple – algorithmic junk – and non-kipple, the objects of value.
In the end, as Dick would say, "Fight kipple!" – and may the prescient voices of our literary forebears guide us toward a brighter, more mindful future.
Borges's Ts'ui Pên navigates an infinite web of divergent, convergent, and parallel times, where all possible paths are chosen. This concept foreshadowed the multiverse hypothesis in quantum physics, a theory first proposed by Hugh Everett in 1957. Yet, it seems our world has become a self-fulfilling prophecy, with the tech barons rebranding dystopian warnings as motivational texts.
From Yevgeny Zamyatin's We (1924) to George Orwell's Nineteen Eighty-Four (1949), Aldous Huxley's Brave New World (1932) and Margaret Atwood's The Handmaid's Tale (1985), these classic novels have become eerily relevant in today's world of surveillance capitalism. In all three futuristic societies, an ideological super-state prohibits any form of privacy, as solitude is mistrusted because it encourages contemplation and possible independence of thought.
Meanwhile, authors like Philip K Dick predicted the dangers of pre-crime operations, predictive algorithms, and facial recognition in his 1968 novel Do Androids Dream of Electric Sheep?. His concept of "kipple" – useless objects that drive out non-kipple – has become a haunting metaphor for our world's addiction to algorithmic trash.
In Neal Stephenson's Snow Crash (1992), the metaverse is an immersive virtual reality, requiring a headset. Mark Zuckerberg's 2021 rebranding of Facebook as Meta marked a striking similarity to Stephenson's vision. William Gibson's Neuromancer (1984) popularized the term "cyberspace," which has become synonymous with our online presence.
These authors remind us that science fiction is not just entertainment but a means of exploring and critiquing our present societal choices. As Atwood said, future fictions are deep examinations of the present, and some guesses at the future are better than others – or so they would have you believe.
As we navigate this era of mass surveillance and "making America great again," it's essential to remember that the line between utopia and dystopia can be blurred. Perhaps the most utopian thing we can do is find a balance between the pressures of kipple – algorithmic junk – and non-kipple, the objects of value.
In the end, as Dick would say, "Fight kipple!" – and may the prescient voices of our literary forebears guide us toward a brighter, more mindful future.