How Social Media Is Science Fiction

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maxheadroom.jpg"We wanted to talk like humans up here. No slides," cracked Annalee Newitz at the start of Sunday's panel on how social media is science fiction. Newitz is a prolific, amazing tech writer, and editor-in-chief of Gawker's sci-fi blog, io9.

Science fiction has always concerned itself with positing our next reality. On Sunday morning at SXSWi (at 9.30 a.m.!) Annalee Newitz and her assembled panelists gathered to consider what world our current science fiction was predicting for us -- and how social media is creating a world that our fiction only began to imagine.

Science fiction has done a pretty good job of predicting our reality, Newitz starts out. The late-1980s television show Max Headroom gave us an investigative reporter with an embedded camera who recorded live from the scene, and an ad market where news agencies allow ad firms to bid for placement on their upcoming coverage. Sound familiar?

Matt Thompson, now the editorial project manager for NPR's Project Argo, created a 2004 film Epic 2014 a about a future media landscape where Google and Amazon have merged to form Googlezon, and all of us are content producers. Thompson isn't so sure the development of an artificial intelligence (AI) is a fixed end goal -- he sees it as a spectrum that starts with collective intelligence, goes through social media and ends with AI. "I don't think it makes sense any longer to talk about individual intelligence," Thompson said.

He did a year-long fellowship at the Donald W. Reynolds Journalism Institute in 2008 -- eschewing the usual "let me spend a year writing a tome" model, he blogged his way through the year. "We are not asking ourselves, what are we getting back?" Thompson said of social media interactions. "We are an intensely social animals. and one of the things social media gives back is the constant context of society."

"It's hard to make the case that just me, just my individual intelligence informed [my final project]," Thompson said.

Sci-fi novelist Maureen McHugh reminded the crowd of Robert Heinlein's definition of three levels of science fiction -- at the first level, we're inventors in the basement, at the second level we extrapolate an infrastructure and at the third level, we're positing changes in people's behaviors as a result of this changed world.

McHugh said we're well into the second level of abstraction in how we think about social media, but we're not yet into the third. Consider multitasking -- in general, we're still bad at it, as an MIT study recently demonstrated. "And we're freaked out. But Socrates was freaked out about literacy!" McHugh noted, and the result of literacy was a written record of history. The benefits we're going to gain from offloading part of our social interaction onto the net remain to be seen.

Still, for all the possibilities for innovation, social media clearly has a dark side. Molly Crabapple, a New York-based illustrator and founder of the alt-art social drawing gathering Dr. Sketchy's, said she sometimes fears a future where no one has jobs, and work is a series of games and challenges. You wouldn't work at Wal-Mart, she told the audience, you'd be part of the Wal-Mart Challenge! "And the prize," Crabapple said, "would be what used to be called your salary. Will the only work that is left be digital turking, she wondered? "So we'd pick up the slack from AI, basically."

Newitz noted that Google hopes it will become AI.

Charlie Anders, a science fiction writer whose work appears at io9, echoed this possibility. She noted we've always wondered about avatar versions of ourselves, but that recent incarnations of these avatars have been dark. "Recently, in our fictions, the avatar is unhappy."

Newitz asked, though, if in this future social media-spawned AI will even be something we conceive as a separate identity. HAL of 2001: A Space Odyssey is still what most of us picture when we think of AI. But if, as Thompson noted, the path to AI is a continuum, then aren't we ultimately a part of AI?

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Phoebe Connelly is a writer and editor in Washington, D.C.

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