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The Steel Orb
The car pulled up on the dark cobblestones and stopped by the darker castle. The vehicle was silver-grey, low to the ground, and sleek. A—let us call him a man—opened the driver's door on the right, and stood up, tall, dark, clad in a robe the color of the sky at midnight. Around the car he went, opened the door for his passenger, and once the passenger stepped out, made one swift motion and had two bags on his shoulder. The bags were large, but he moved as if he were accustomed to carrying far heavier fare. It was starlight out, and the moon was visible as moonlight rippled across a pool.
The guest reached for the bags. "Those are heavy. Let me—"
The host smiled darkly. "Do not worry about the weight of your bags."
The host opened a solid greyblack door, of unearthly smoothness, and walked swiftly down a granite hallway, allowing his guest to follow. "You've had a long day. Let me get you something to drink." He turned a door, poured something into two iridescent titanium mugs, and turned through another corridor and opened a door on its side. Inside the room were two deep armchairs and a low table.
"This is my first time traveling between worlds—how am I to address you?"
The host smiled. "Why do you wish to know more of my name? It is enough for you to call me Oinos. Please enjoy our welcome."
The guest sipped his drink. "Cider?"
The host said, "You may call it that; it is a juice, which has not had artificial things done to make it taste like it just came out of its fruit regardless of how much it should have aged by the time you taste it. It is juice where time has been allowed to do its work." He was holding a steel orb. "You are welcome here, Art." Then—he barely seemed to move—there was a spark, and Oinos pulled a candle from the wall and set it on the table.
Art said, "Why not a fluorescent light to really light the room up?"
The host said, "For the same reason that you either do not offer your guests mocha at all, or else give them real mocha and not a mix of hot water, instant coffee, and hot cocoa powder. In our world, we can turn the room bright as day any time, but we do not often do so."
"Aah. We have a lot to learn from you about getting back to nature."
"Really? What do you mean by 'getting back to nature'? What do you do to try to 'get back to nature'?"
"Um, I don't know what to really do. Maybe try to be in touch with the trees, not being cooped up inside all the time, if I were doing a better job of it..."
"If that is getting back in touch with nature, then we pay little attention to getting in touch with nature. And nature, as we understand it, is about something fundamentally beyond dancing on hills or sitting and watching waves. I don't criticize you if you do them, but there is really something more. And I can talk with you about drinking juice without touching the natural processes that make cider or what have you, and I can talk with you about natural cycles and why we don't have imitation daylight any time it would seem convenient. But I would like you to walk away with something more, and more interesting, than how we keep technology from being too disruptive to natural processes. That isn't really the point. It's almost what you might call a side effect."
"But you do an awfully impressive job of putting technology in its place and not getting too involved with it."
Oinos said, "Have you had enough chance to stretch out and rest and quench your thirst? Would you like to see something?"
Oinos stood, and led the way down some stairs to a room that seemed to be filled with odd devices. He pushed some things aside, then walked up to a device with a square in the center, and pushed one side. Chains and gears moved, and another square replaced it.
"This is my workshop, with various items that I have worked on. You can come over here and play with this little labyrinth; it's not completely working, but you can explore it if you take the time to figure it out. Come on over. It's what I've been working on most recently."
Art looked around, somewhat amazed, and walked over to the 'labyrinth.'
Oinos said, "In your world, in classical Greek, the same word, 'techne,' means both 'art' and 'technology.' You misunderstand my kindred if you think we aren't especially interested in technology; we have a great interest in technology, as with other kinds of art. But just as you can travel a long distance to see the Mona Lisa without needing a mass-produced Mona Lisa to hang in your bathroom, we enjoy and appreciate technologies without making them conveniences we need to have available every single day."
Art pressed a square and the labyrinth shifted. "Have I come here to see technologies?"
Oinos paused. "I would not advise it. You see our technologies, or how we use them, because that is what you are most ready to see. Visitors from some other worlds hardly notice them, even if they are astonished when they are pointed out."
Art said, "Then why don't we go back to the other room?"
Oinos turned. "Excellent." They went back, and Art sat down in his chair.
Art, after a long pause, said, "I still find it puzzling why, if you appreciate technology, you don't want to have more of it."
Oinos said, "Why do you find it so puzzling?"
"Technology does seem to add a lot to the body."
"That is a very misleading way to put it. The effect of most technologies that you think of as adding to the body is in fact to undercut the body. The technologies that you call 'space-conquering' might be appropriately called 'body-conquering.'"
"So the telephone is a body-conquering device? Does it make my body less real?"
"Once upon a time, long ago from your perspective, news and information could not really travel faster than a person could travel. If you were talking with a person, that person had to be pretty close, and it was awkward and inconvenient to communicate with those who were far away. That meant that the people you talked with were probably people from your local community."
"So you were deprived of easy access to people far away?"
"Let me put it this way. It mattered where you were, meaning where your body was. Now, on the telephone, or instant messages, or the web, nothing and no one is really anywhere, and that means profound things for what communities are. And are not. You may have read about 'close-knit rural communities' which have become something exotic and esoteric to most of your world's city dwellers... but when space conquering technologies had not come in, and another space-conquering technology, modern roads allowing easy moving so that people would have to say goodbye to face-to-face friendships every few years... It's a very different way of relating. A close-knit rural community is exotic to you because it is a body-based community in ways that tend not to happen when people make heavy use of body-conquering, or space-conquering, or whatever you want to call them, technologies."
"But isn't there more than a lack of technologies to close-knit communities?"
"Yes, indeed... but... spiritual discipline is about much more than the body, but a lot of spiritual discipline can only shape people when people are running into the body's limitations. The disciplines—worship, prayer, fasting, silence, almsgiving, and so on—only mean something if there are bodily limits you are bumping into. If you can take a pill that takes away your body's discomfort in fasting, or standing through worship, then the body-conquering technology of that pill has cut you off from the spiritual benefit of that practice."
"Aren't spiritual practices about more than the body?"
"Yes indeed, but you won't get there if you have something less than the body."
Art sat back. "I'd be surprised if you're not a real scientist. I imagine that in your world you know things that our scientists will not know for centuries."
Oinos sat back and sat still for a time, closing his eyes. Then he opened his eyes and said, "What have you learned from science?"
"I've spent a lot of time lately, wondering what Einstein's theory of relativity means for us today: even the 'hard' sciences are relative, and what 'reality' is, depends greatly on your own perspective. Even in the hardest sciences, it is fundamentally mistaken to be looking for absolute truth."
Oinos leaned forward, paused, and then tapped the table four different places. In front of Art appeared a gridlike object which Art recognized with a start as a scientific calculator like his son's. "Very well. Let me ask you a question. Relative to your frame of reference, an object of one kilogram rest mass is moving away from you at a speed of one tenth the speed of light. What, from your present frame of reference, is its effective mass?"
Art hesitated, and began to sit up.
Oinos said, "If you'd prefer, the table can be set to function as any major brand of calculator you're familiar with. Or would you prefer a computer with Matlab or Mathematica? The remainder of the table's surface can be used to browse the appropriate manuals."
Art shrunk slightly towards his chair.
Oinos said, "I'll give you hints. In the theory of relativity, objects can have an effective mass of above their rest mass, but never below it. Furthermore, most calculations of this type tend to have anything that changes, change by a factor of the inverse of the square root of the quantity: one minus the square of the object's speed divided by the square of the speed of light. Do you need me to explain the buttons on the calculator?"
Art shrunk into his chair. "I don't know all of those technical details, but I have spent a lot of time thinking about relativity."
Oinos said, "If you are unable to answer that question before I started dropping hints, let alone after I gave hints, you should not pose as having contemplated what relativity means for us today. I'm not trying to humiliate you. But the first question I asked is the kind of question a teacher would put on a quiz to see if students were awake and not playing video games for most of the first lecture. I know it's fashionable in your world to drop Einstein's name as someone you have deeply pondered. It is also extraordinarily silly. I have noticed that scientists who have a good understanding of relativity often work without presenting themselves as having these deep ponderings about what Einstein means for them today. Trying to deeply ponder Einstein without learning even the basics of relativistic physics is like trying to write the next Nobel prize-winning German novel without being bothered to learn even them most rudimentary German vocabulary and grammar."
"But don't you think that relativity makes a big difference?"
"On a poetic level, I think it is an interesting development in your world's history for a breakthrough in science, Einstein's theory of relativity, to say that what is absolute is not time, but light. Space and time bend before light. There is a poetic beauty to Einstein making an unprecedented absolute out of light. But let us leave poetic appreciation of Einstein's theory aside.
"You might be interested to know that the differences predicted by Einstein's theory of relativity are so minute that decades passed between Einstein making the theory of relativity and people being able to use a sensitive enough clock to measure the minute difference of the so-called 'twins paradox' by bringing an atomic clock on an airplane. The answer to the problem I gave you is that for a tenth the speed of light—which is faster than you can imagine, and well over a thousand times the top speed of the fastest supersonic vehicle your world will ever make—is one half of one percent. It's a disappointingly small increase for a rather astounding speed. If the supersonic Skylon is ever built, would you care to guess the increase in effective mass as it travels at an astounding Mach 5.5?"
"Um, I don't know..."
"Can you guess? Half its mass? The mass of a car? Or just the mass of a normal-sized adult?"
"Is this a trick question? Fifty pounds?"
"The effective mass increases above the rest mass, for that massive vehicle running at about five times the speed of sound and almost twice the top speed of the SR-71 Blackbird, is something like the mass of a mosquito."
"A mosquito? You're joking, right?"
"No. It's an underwhelming, microscopic difference for what relativity says when the rumor mill has it that Einstein taught us that hard sciences are as fuzzy as anything else... or that perhaps, in Star Wars terms, 'Luke, you're going to find that many of the truths we cling to depend greatly on your own point of view.' Under Einstein, you will in fact not find that many of the observations that we cling to, depend greatly on your own frame of reference. You have to be doing something pretty exotic to have relativity make any measurable difference from the older physics at all."
"Would you explain relativity to me so that I can discuss its implications?"
"I really think there might be more productive ways to use your visit."
"But you have a scientist's understanding of relativity."
"I am not sure I'd say that."
"Why? You seem to understand relativity a lot more like a scientist than I do."
"Let's talk about biology for a moment. Do you remember the theory of spontaneous generation? You know, the theory that life just emerges from appropriate material?"
"I think so."
"But your world's scientists haven't believed in spontaneous generation since over a century before you were born. Why would you be taught that theory—I'm assuming you learned this in a science class and not digging into history?"
"My science course explained the theory in covering historical background, even though scientists no longer believe that bread spontaneously generates mold."
"Let me ask what may seem like a non-sequitur. I assume you're familiar with people who are working to get even more of religion taken out of public schools?"
"They are very concerned about official prayers at school events, right? About having schools endorse even the occasional religious practice?"
"Ok. Let me ask what may seem like a strange question. Have these 'separation of Church and state' advocates also advocated that geometry be taken out of the classroom?"
Art closed his eyes, and then looked at Oinos as if he had two heads. "It seems you don't know everything about my world."
"I don't. But please understand that geometry did not originate as a secular technical practice. You migth have heard this mentioned. Geometry began its life as a 'sacred science,' or a religious practice, and to its founders the idea that geometry does not have religious content would have struck them as worse than saying that prayer does not have religious content."
"Ok, I think I remember that being mentioned. So to speak, my math teacher taught about geometry the 'sacred science' the way that my biology teacher taught about the past theory of spontaneous generation."
Oinos focused his eyes on Art. "In our schools, and in our training, physics, biology, and chemistry are 'taught' as 'secular sciences' the same way, in your school, spontaneous generation is taught as 'past science', or even better, the 'sacred science' of geometry is 'taught' in the course of getting on to a modern understanding of geometry."
Art said, "So the idea that the terrain we call 'biology' is to you—"
Oinos continued: "As much something peered at through a glass bell as the idea that the terrain of regular polygons belongs to a secularized mathematics."
"What is a sacred science?"
Oinos sat back. "If a science is about understanding something as self-contained whose explanations do not involve God, and it is an attempt to understand as physics understand, and the scientist understands as a detached observer, looking in through a window, then you have a secular science—the kind that reeks of the occult to us. Or that may sound strange, because in your world people proclaiming sacred sciences are proclaiming the occult. But let me deal with that later. A sacred science does not try to understand objects as something that can be explained without reference to God. A sacred science is first and foremost about God, not about objects. When it understands objects, it understands them out of God, and tries to see God shining through them. A sacred science has its home base in the understanding of God, not of inanimate matter, and its understanding of things bears the imprint of God. If you want the nature of its knowing in an image, do not think of someone looking in and observing, detached, through a window, but someone drinking something in."
"Is everything a sacred science to you? And what is a sacred science? Astrology?"
"Something like that, except that I use the term 'sacred science' by way of accommodation. Our own term is one that has no good translation in your language. But let us turn to the stars."
"Astrology is right in this: a star is more than a ball of plasma. Even in the Bible there is not always such a distinction between the ranks of angels and the stars as someone raised on materialist science might think." He rose, and began to walk, gesturing for Art to follow him. In the passage, they turned and entered a door. Oinos lit a lamp next to an icon on the wall.
The icon looked like starlight. It showed angels praying at the left, and then the studded sapphiric canopy of the night sky behind a land with herbs shooting from the earth, and on the right an immense Man—if he was a Man—standing, his hand raised in benediction. All around the sapphire dome were some majestic figures, soaring aloft in two of their six wings. Art paused to drink it in.
"What are those symbols?"
"They are Greek letters. You are looking at an icon of the creation of the stars, but the text is not the text for that day; it is from another book, telling of the angels thunderously shouting for joy when the stars were created. So the stars are connected with the angels."
"Is this astrology?"
"No, because the stars and angels both point to God. The influences in astrology point beyond matter to something else, but they do not point far enough beyond themselves. If you can use something to make a forecast that way, it doesn't point far enough beyond itself."
"One definition to distinguish religion from magic—one used by anthropologists—is that religion is trying to come into contact with the divine, and magic is trying to control the divine. God cannot be controlled, and there is something of control in trying to foretell a future that God holds in mystery. A real God cannot be pried into by a skill. Astrology departs from a science that can only see stars as so much plasma, but it doesn't go far enough to lead people to look into the stars and see a shadow of their Creator. To be a sacred science, it is not enough to point to something more than matter as secular science understands it; as the term is used in our language, one can only be a sacred science by pointing to God."
"Then what is a sacred science? Which branches of learning as you break them up? Can they even be translated into my language?"
"You seem to think that if astrology is not a sacred science then sacred sciences must be something much more hidden. Not so. Farming is a sacred science, as is hunting, or inventing, or writing. When a monk makes incense, it is not about how much incense he can make per unit of time; his making incense is the active part of living contemplatively, and his prayer shows itself in physical labor. His act is more than material production; it is a sacred science, or sacred art or sacred endeavor, and what goes into and what comes out of the activity is prayer. Nor is it simply a matter that he is praying while he acts; his prayers matter for the incense. There are many lands from your world's Desert Fathers to Mexico in your own day where people have a sense that it matters what state people cook in, and that cooking with love puts something into a dish that no money can buy. Perhaps you will not look at me askance when I say that not only monks in their monasteries exotically making incense for worship are performing a sacred science, but cooking, for people who may be low on the totem pole and who are not considered exotic, as much as for anyone else, can and should be a sacred science. Like the great work that will stay up with a sick child all night."
"Hmm..." Art said, and then finished his tankard. "Have you traveled much?"
"I have not reached one in five of the galaxies with inhabited worlds. I can introduce you to people who have some traveling experience, but I am not an experienced traveler. Still, I have met sites worth visiting. I have met, learned, worshiped. Traveling in this castle I have drunk the blood of gems. There are worlds where there is nothing to see, for all is music, and song does everything that words do for you. I have beheld a star as it formed, and I have been part of an invention that moves forward as a thousand races in their laboratories add their devices. I have read books, and what is more I have spoken with members of different worlds and races. There seems to be no shortage of wonders, and I have even been to your own world, with people who write fantasy that continues to astonish us—"
"My son-in-law is big into fantasy—he got me to see a Lord of the whatever-it-was movie—but I don't fancy them much myself."
"We know about Tolkein, but he is not considered a source of astonishing fantasy to us."
"Um..." Art took a long time to recall a name, and Oinos waited patiently. "Lewis?"
"If you're looking for names you would have heard of, Voltaire and Jung are two of the fantasy authors we consider essential. Tolkein and Lewis are merely imaginative. It is Voltaire and Jung who are truly fantasy authors. But there are innumerable others in your world."
Art said, "Um... what do you mean by 'fantasy author'?"
Oinos turned. "I'm sorry; there is a discrepancy between how your language uses 'fantasy author' and ours. We have two separate words that your 'fantasy' translates, and the words stand for very different concepts. One refers to works of imagination that are set in another world that is not confused with reality. The other refers to a fundamental confusion that can cost a terrible price. Our world does not produce fiction; we do appreciate the fiction of other worlds, but we do not draw a particularly strong line between fiction where only the characters and events are imagined, and fiction where the whole world is imagined. But we do pay considerable attention to the second kind of fantasy, and our study of fantasy authors is not a study of imagination but a study of works that lead people into unreality. 'Fantasy author' is one of the more important terms in understanding your world and its history."
Art failed to conceal his reaction.
"Or perhaps I was being too blunt. But, unfashionable as it may be, there is such a thing as evil in your world, and the ways in which people live, including what they believe, has something to do with it. Not everything, but something."
Oinos waited for a time. Then, when Art remained silent, he said, "Come with me. I have something to show you." He opened a door on the other side of the room, and went into the next room. The room was lit by diffuse moonlight, and there was a ledge around the room and water which Oinos stirred with his hand to light a phosphorescent glow. When Art had stepped in, Oinos stepped up, balancing on a steel cable, and stood silent for a while. "Is there anything here that you can focus on?"
"What do you mean?"
"Step up on this cable and take my hand."
"What if I fall into the water?"
Art tried to balance, but it seemed even more difficult in the dark. For a while, he tried to keep his balance with Oinos's help, but he seemed barely up. He overcompensated twice in opposite directions, began flying into the water, and was stopped at last by Oinos's grip, strong as steel, on his arm.
"I can't do this," Art said.
"Very well." Oinos opened a door on the other side of the room, and slowly led him out. As they walked, Oinos started up a spiral staircase and sat down to rest after Art reached the top. Then Art looked up at the sky, and down to see what looked like a telescope.
"What is it?"
"A telescope, not too different from those of your world."
Oinos stood up, looked at it, and began some adjustments. Then he called Art over, and said, "Do you see that body?"
"What is it?"
"A small moon."
Oinos said, "I want you to look at it as closely as you can," and then pulled something on the telescope.
"It's moving out of sight."
"That's right; I just deactivated the tracking feature. You should be able to feel handles; you can move the telescope with them."
"Why do I need to move the telescope? Is the moon moving?"
"This planet is rotating: what the telescope sees will change as it rotates with the planet, and on a telescope you can see the rotation."
Art moved the handles and found that it seemed either not to move at all or else move a lot when he put pressure on it.
Art said, "This is a hard telescope to control."
Oinos said, "The telescope is worth controlling."
"Can you turn the tracking back on?"
Oinos merely repeated, "The telescope is worth controlling."
The celestial body had moved out of view. Art made several movements, barely passed over the moon, and then found it. He tried to see what he could, then give a relatively violent shove when the moon reached the edge of his field of view, and see if he could observe the body that way. After several tries, he began to get the object consistently in view... and found that he was seeing the same things about it, not being settled enough between jolts to really focus on what was there.
Art tried to make a smooth, slow movement with his body, and found that a much taller order than it sounded. His movement, which he could have sworn was gentle and smooth, produced what seemed like erratic movement, and it was only with greatest difficulty that he held the moon in view.
"Is this badly lubricated? Or do you have lubrication in this world?"
"We do, on some of our less precise machines. This telescope is massive, but it's not something that moves roughly when it is pushed smoothly; the joints move so smoothly that putting oil or other lubricants that are familiar to you would make them move much more roughly."
"Then why is it moving roughly every time I push it smoothly?"
"Maybe you aren't pushing it as smoothly as you think you are?"
Art pushed back his irritation, and then found the moon again. And found, to his dismay, that when the telescope jerked, he had moved the slightest amount unevenly.
Art pushed observation of the moon to the back of his mind. He wanted to move the telescope smoothly enough that he wouldn't have to keep finding the moon again. After a while, he found that this was less difficult than he thought, and tried for something harder: keeping the moon in the center of what he could see in the telescope.
He found, after a while, that he could keep the moon in the center if he tried, and for periods was able to manage something even harder: keeping the moon from moving, or perhaps just moving slowly. And then, after a time, he found himself concentrating through the telescope on taking in the beauty of the moon.
It was breathtaking, and Art later could never remember a time he had looked on something with quite that fascination.
Then Art realized he was exhausted, and began to sit down; Oinos pulled him to a bench.
After closing his eyes for a while, Art said, "This was a magnificent break from your teaching."
"A break from teaching? What would you mean?"
Art sat, opened his mouth, and then closed it. After a while, he said, "I was thinking about what you said about fantasy authors... do you think there is anything that can help?"
Oinos said, "Let me show you." He led Art into a long corridor with smooth walls and a round arch at top. A faint blue glow followed them, vanishing at the edges. Art said, "Do you think it will be long before our world has full artificial intelligence?"
Oinos said, "Hmm... Programming artificial intelligence on a computer is not that much more complex than getting a stone to lay an egg."
Art said, "But our scientists are making progress. Your advanced world has artificial intelligence, right?"
Oinos said, "Why on earth would we be able to do that? Why would that even be a goal?"
"You have computers, right?"
"Yes, indeed; the table that I used to call up a scientific calculator works on the same principle as your world's computers. I could almost say that inventing a new kind of computer is a rite of passage among serious inventors, or at least that's the closest term your world would have."
"And your computer science is pretty advanced, right? Much more advanced than ours?"
"We know things that the trajectory of computer science in your world will never reach because it is not pointed in the right direction." Oinos tapped the wall and arcs of pale blue light spun out.
"Then you should be well beyond the point of making artificial intelligence."
"Why on a million, million worlds should we ever be able to do that? Or even think that is something we could accomplish?"
"Well, if I can be obvious, the brain is a computer, and the mind is its software."
"What else could the mind be?"
"What else could the mind be? What about an altar at which to worship? A workshop? A bridge between Heaven and earth, a meeting place where eternity meets time? A treasury in which to gather riches? A spark of divine fire? A line in a strong grid? A river, ever flowing, ever full? A tree reaching to Heaven while its roots grasp the earth? A mountain made immovable for the greatest storm? A home in which to live and a ship by which to sail? A constellation of stars? A temple that sanctifies the earth? A force to draw things in? A captain directing a starship or a voyager who can travel without? A diamond forged over aeons from of old? A perpetual motion machine that is simply impossible but functions anyway? A faithful manuscript by which an ancient book passes on? A showcase of holy icons? A mirror, clear or clouded? A wind which can never be pinned down? A haunting moment? A home with which to welcome others, and a mouth with which to kiss? A strand of a web? An acrobat balancing for his whole life long on a slender crystalline prism between two chasms? A protecting veil and a concealing mist? An eye to glimpse the uncreated Light as the world moves on its way? A rift yawning into the depths of the earth? A kairometer, both primeval and young? A—"
"All right, all right! I get the idea, and that's some pretty lovely poetry. (What's a kairometer?) These are all very beautiful metaphors for the mind, but I am interested in what the mind is literally."
"Then it might interest you to hear that your world's computer is also a metaphor for the mind. A good and poetic metaphor, perhaps, but a metaphor, and one that is better to balance with other complementary metaphors. It is the habit of some in your world to understand the human mind through the metaphor of the latest technology for you to be infatuated with. Today, the mind is a computer, or something like that. Before you had the computer, 'You're just wired that way' because the brain or the mind or whatever is a wired-up telephone exchange, the telephone exchange being your previous object of technological infatuation, before the computer. Admittedly, 'the mind is a computer' is an attractive metaphor. But there is some fundamental confusion in taking that metaphor literally and assuming that, since the mind is a computer, all you have to do is make some more progress with technology and research and you can give a computer an intelligent mind."
"I know that computers don't have emotions yet, but they seem to have rationality down cold."
"Are you actually going to tell me that computers, with their math and logic, aren't rational?"
"Let me ask you a question. Would you say that the thing you can hold, a thing that you call a book, can make an argument?"
"Yes; I've seen some pretty good ones."
"Really? How do paper and ink think out their position?"
Art hesitated, and said, "Um, if you're going to nitpick..."
"I'm not nitpicking. A book is a tool of intelligent communication, and they are part of how people read author's stories, or explanation of how to do things, or poetry, or ideas. But the physical thing is not thereby intelligent. However much you think of a book as making an argument, the book is incapable of knowing what an argument is, and for that matter the paper and ink have no idea of whether they contain the world's best classic, or something mediocre, or incoherent accusations that world leaders are secretly planning to turn your world to dog drool, or randomly generated material that is absolute gibberish. The book may be meaningful to you, but the paper with ink on it is not the sort of thing that can understand what you recognize through the book.
"This might ordinarily be nitpicking, but it says something important about computers. One of the most difficult things for computer science instructors in your world to pound through people's heads is that a computer does not get the gist of what you are asking it to do and overlook minor mistakes, because the computer has no sense of what you are doing and no way to discern what were trying to get it to do from a mistake where you wrote in a bug by telling it to do something slightly different from what you meant. The computer has no sense that a programmer meant anything. A computer follows instructions, one after another, whether or not they make sense, and indeed without being able to wonder whether they make sense. To you, a program may be a tool that acts as an electronic shopping cart to let you order things through the web, but the web server no more understands that it is being used as a web server than a humor book understands that it is meant to make people laugh. Now most or all of the books you see are meant to say something—there's not much market for a paperback volume filled with random gibberish—but a computer can't understand that it is running a program written for a purpose any more than a book can understand that the ink on its pages is intended for people to read."
Art said, "You don't think artificial intelligence is making real progress? They seem to keep making new achievements."
Oinos said, "The rhetoric of 'We're making real breakthroughs now; we're on the verge of full artificial intelligence, and with what we're achieving, full artificial intelligence is just around the corner' is not new: people have been saying that full artificial intelligence is just around the corner since before you were born. But breeding a better and better kind of apple tree is not progress towards growing oranges. Computer science, and not just artificial intelligence, has gotten good at getting computers to function better as computers. But human intelligence is something else... and it is profoundly missing the point to only realize that the computer is missing a crucial ingredient of the most computer-like activity of human rational analysis. Even if asking a computer to recognize a program's purpose reflects a fundamental error—you're barking up the wrong telephone pole. Some people from your world say that when you have a hammer, everything begins to look like a nail. The most interesting thing about the mind is not that it can do something more complete when it pounds in computer-style nails. It's something else entirely."
"When things are going well, the 'computer' that performs calculating analysis is like your moon: a satellite, that reflects light from something greater. Its light is useful, but there is something more to be had. The sun, as it were, is that the mind is like an altar, or even something better. It takes long struggles and work, but you need to understand that the heart of the mind is at once practical and spiritual, and that its greatest fruit comes not in speech but in silence."
Art was silent for a long time.
Oinos stopped, tapped a wall once, and waited as an opening appeared in the black stone. Inside an alcove was a small piece of rough hewn obsidian; Oinos reached in, took it, and turned it to reveal another side, finely machined, with a series of concentric ridged grooves centered around a tiny niche. "You asked what a kairometer was, and this is a kairometer, although it would take you some time to understand exactly what it is."
"Is it one of the other types of computers in your world?"
"Yes. I would call it information technology, although not like the information technology you know. It is something people come back to, something by which people get something more than they had, but it does this not so much according to its current state as to our state in the moment we are using it. It does not change." Oinos placed the object in Art's hands.
Art slowly turned it. "Will our world have anything like this?"
Oinos took the kairometer back and returned it to its niche; when he withdrew his hand, the opening closed with a faint whine. "I will leave you to find that yourself."
Oinos began walking, and they soon reached the end of the corridor. Art followed Oinos through the doorway at the end and gasped.
Through the doorway was something that left Art trying to figure out whether or not it was a room. It was a massive place, lit by a crystalline blue light. As Art looked around, he began to make sense of his surroundings: there were some bright things, lower down, in an immense room with rounded arches and a dome at the top, made of pure glass. Starlight streamed in. Art stepped through the doorway and sunk down a couple of inches.
Oinos stooped for a moment, and then said, "Take off your shoes. They are not needed here." Art did so, and found that he was walking on a floor of velveteen softness. In the far heart of the room a thin plume of smoke arose. Art could not tell whether he smelled a fragrance, but he realized there was a piercing chant. Art asked, "What is the chant saying?"
Oinos did not answer.
What was the occasion? Art continued to look, to listen, and began trying to drink it in. It almost sounded as if they were preparing to receive a person of considerable importance. There was majesty in the air.
Oinos seemed to have slipped away.
Art turned and saw an icon behind him, hanging on the glass. There was something about it he couldn't describe. The icon was dark, and the colors were bright, almost luminous. A man lay dreaming at the bottom, and something reached up to a light hidden in the clouds—was it a ladder? Art told himself the artistic effect was impressive, but there was something that seemed amiss in that way of looking at it.
What bothered him about saying the icon had good artistic effect? Was the artistry bad? That didn't seem to be it. He looked at a couple of areas of artistic technique, but it was difficult to do so; such analysis felt like a foreign intrusion. He thought about his mood, but that seemed to be the wrong place to look, and almost the same kind of intrusion. There seemed to be something shining through the icon; looking at it was like other things he had done in this world, only moreso. He was looking through the icon and not around it, but... Art had some sense of what it was, but it was not something he could fit into words.
After being absorbed in the icon, Art looked around. There must have been hundreds of icons around, and lights, and people; he saw what seemed like a sparse number of people—of Oinos's kind—spread out through the vast space. There was a chant of some kind that changed from time to time, but seemed to somehow be part of the same flow. Things seemed to move very slowly—or move in a different time, as if clock time were turned on its side, or perhaps as if he had known clock time as it was turned on its side and now it was right side up—but Art never had the sense of nothing going on. There seemed to always be something more going on than he could grasp.
Art shifted about, having stood for what seemed like too long, sat down for a time, and stood up. The place seemed chaotic, in a way cluttered, yet when he looked at the "clutter," there was something shining through, clean as ice, majestic as starlight, resonant as silence, full of life as the power beneath the surface of a river, and ordered with an order that no rectangular grid could match. He did not understand any of the details of the brilliant dazzling darkness... but they spoke to him none the less.
After long hours of listening to the chant, Art realized with a start that the fingers of dawn had stolen all around him, and he saw stone and verdant forest about the glass walls until the sunlight began to blaze. He thought, he though he could understand the song even as its words remained beyond his reach, and he wished the light would grow stronger so he could see more. There was a crescendo all about him, and—
Oinos was before him. Perhaps for some time.
"I almost understand it," Art said. "I have started to taste this world."
Oinos bowed deeply. "It is time for you to leave."
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