{"id":4567,"date":"2013-02-05T09:48:56","date_gmt":"2013-02-05T17:48:56","guid":{"rendered":"http:\/\/www.rudyrucker.com\/blog\/?p=4567"},"modified":"2013-06-18T12:57:53","modified_gmt":"2013-06-18T20:57:53","slug":"the-bogosity-generator-tool-in-science-fiction","status":"publish","type":"post","link":"https:\/\/www.rudyrucker.com\/blog\/2013\/02\/05\/the-bogosity-generator-tool-in-science-fiction\/","title":{"rendered":"The \u201cBogosity Generator\u201d\u009d Tool In Science Fiction"},"content":{"rendered":"

As most of you probably know, filmmakers use the term \u201cMacGuffin<\/a>\u201d\u009d to stand for some object that various characters in the tale are competing for. A secret paper, a formula, a stunning gem, a statue of a Maltese falcon… <\/p>\n

In Fantasy and SF novels we have a slightly different convention\u2014a special device or procedure or organism with special powers that affect the flow of the story. The writer very often works backwards, that is, they get some visually or conceptually interesting thing happening in their story, and only then <\/em>posits a gimmick that will make the effects possible.<\/p>\n

There must be some standard generic name for these gimmicks, and if so, I\u2019ve probably heard it, but for whatever reason, I can\u2019t think of a completely apt and standard phrase today. Deus ex machina<\/em> isn\u2019t quite right, as that\u2019s more specifically a miraculous something that saves <\/em>your characters. Pixie dust <\/em>is fairly accurate, but it doesn\u2019t have the technological feel that I\u2019d like. I’ve seen handwavium <\/em>too, and that’s not bad, but I guess I’d like a new phrase for this.<\/p>\n

<\/p>\n

Let\u2019s call what I\u2019m talking about a bogosity generator<\/em>. Kind of like a tank of helium, useful for inflating your pretty balloon animals so they can bobble across the ceiling. Or, more obviously, like an electrical generator that sets the great streams of sparks to arcing across your mad-scientist lab.<\/p>\n

The rules are that fantasy authors aren\u2019t expected to justify or to explain their bogosity generators, but an SF writer is expected to cobble together some kind of semi-plausible, paralogical, science-like explanation\u2014that\u2019s considered part of the fun of SF. The styles of these hand-waving explanations change with the intellectual fashions of the times. Over the years, preferred bogosity-generator-justifiers have included radio waves, radioactivity, the subdimensions, relativity, psi powers, black holes, quantum mechanics, parallel worlds, nanotechnology, chaos theory, superintelligent AI, an escalating technological singularity, bioengineering, and our dear friend the Higgs particle.<\/p>\n

One point that\u2019s worth making over and over is that an SF writer\u2019s explanations for his or her bogosity generators serve a creative purpose<\/em>. The theory behind your bogosity generator is not <\/em>idle bullsh*t. Why? Because in the process of making up the explanation, you get ideas for new things to do with the bogosity generator.<\/p>\n

<\/p>\n

When you\u2019re thinking about the explanation, it\u2019s like you\u2019re reading an instruction manual for some cool new device. Admittedly, you yourself are writing <\/em>the instruction manual at the same time that you\u2019re reading it, but the manual is not a complete fabrication<\/em>\u2014it\u2019s constrained by having to be logical, concise, intellectually appealing, internally consistent and, to a certain degree, externally consistent with some cherry-picked facts of science.<\/p>\n

When you get a really fine explanation for your bogosity generator, it\u2019s no longer the case that your story tells a lie <\/em>. If the explanation is really cooking, the lie tells your story<\/em>. Yeah, baby. That\u2019s where you want to be. It\u2019s a variation on a carnie grifter saying: \u201cDon\u2019t run the con. Let the con run you.\u201d\u009d <\/p>\n

It sometimes happens that an author invents the bogosity generator before <\/em>deciding what it\u2019s supposed to do. You might dream one up early in a novel simply because you know you\u2019ll be needing some explanatory device sooner or later, even if you haven\u2019t quite yet decided what kind of weirdness you\u2019ll be needing to explain. Or you\u2019ll have a nice mental image for a funky bogosity generator, and you go ahead and describe it without even knowing what it does or how it \u201cworks.\u201d\u009d<\/p>\n

<\/p>\n

This is the situation that I\u2019m in with my novel-in-progress The Big Aha <\/em>. About a quarter of the way into the novel, I introduced a bogosity generator called an oddball<\/em>. It has some of the qualities of a MacGuffin, in that some of characters immediately set to work stealing the oddball from each other like the spies vying for that Maltese falcon. But it\u2019s also meant to be a bogosity generator. I\u2019m expecting great things from my oddball. Only I still have to figure out what those things will be\u2014and what\u2019s the \u201cexplanation\u201d\u009d for the oddball. And I\u2019m glad I still have to figure these things out, as I need material for the second half of the novel!<\/p>\n

Here\u2019s some text from the draft scene, where the oddball is introduced. I might mention that by a \u201cnurb,\u201d\u009d I mean a biotweaked plant or animal. In the future era where The Big Aha <\/em>is set, somewhere near the end of the 21st century, tailored organisms have almost entirely replaced machines. \u201cTeep\u201d\u009d is telepathy. \u201cQwet\u201d\u009d means \u201cquantum wetware,\u201d\u009d which is a bogosity generator of its own, it provides people with teep and with an ability to get their heads into a high \u201ccosmic\u201d\u009d state.<\/p>\n

<\/p>\n

A scratched, glassy object sat upon a carved wooden shelf. It was a sphere the size of a robin\u2019s egg, transparent on the outside, with an opaque core. This central core was dark purple. I\u2019d often studied the object, trying to decipher its origins and its purpose, wondering over the sparks of reflected light that danced within. The deeply maroon central core was a spiky compound assemblage, a stilled explosion that resembled a sea urchin. <\/p>\n

The really odd thing about this particular curio was that its appearance continually changed. The calligraphic scratches on its surface tended to wriggle and drift; the central core wobbled and varied in size. Once in a great while, if I\u2019d fiddled with the curio enough, I\u2019d see a stumpy cylinder grow out of the central core and out through the curio\u2019s transparent side. This cylinder was like a smooth, leathery tube, but its outer end gave the appearance of having been roughly severed. <\/p>\n

My wife Jane called this little sphere her amazing oddball. She\u2019d picked it up in Manhattan, on the East Village beach that bordered the now-submerged Alphabet City district. Jane liked to claim that the oddball had called her by whispering her name. We\u2019d never quite decided what it actually was. At first we\u2019d taken it for a plastic amulet with an embedded holographic display\u2014but then we\u2019d decided it was biological, probably a nurb. Not that it resembled any nurb that had ever gone into production. Nor did it have any obvious commercial purpose. An abandoned experiment? A wild nurb that had emerged on its own?<\/p>\n

I centered myself and took the oddball in my hand. It nestled against my palm, and I seemed to feel a faint glow of teep from it. Not something I\u2019d ever noticed before. Was the curio somehow synching with my qwet mind? <\/p><\/blockquote>\n

<\/p>\n

Two months ago, I formed the desperate plan of having my oddball be someone\u2019s severed third eye, to be used in concert with hopping from our world up to a parallel world called fairyland. I described this far-fetched idea in my December 10, 2012 blog post, \u201cCosmic Fairyland 2: Third Eye<\/a>\u201d\u009d.<\/p>\n

That was a useful idea in that it helped me to continue writing. But the whole fairyland and third eye thing is too baroque to maintain. It introduced too many extra story elements into my novel. So I\u2019m downgrading the oddball\u2019s abilities. My character Loulou didn\u2019t actually <\/em>use the oddball to travel through another dimension to a parallel world and then hurl small green pigs, known as \u201cgubs,\u201d\u009d into our world for the other characters to see. (Gubs are described in my post of November, 30, 2012, \u201cGubs and Raths<\/a>\u201d\u009d.)<\/p>\n

Instead, I\u2019m now only requiring that the oddball has the effect of allowing Loulou to (a) make herself invisible without in fact leaving our world, (b) to project images and seemingly solid objects into reality, somewhat in the style of what spiritualists call a \u201cphysical medium<\/a>.\u201d\u009d <\/p>\n

<\/p>\n

Fairyland was only Loulou\u2019s hallucination, but the oddball allowed Loulou to become invisible, those around her thought she might be off in fairyland, and her ability to reify her imagined gubs made it seem like she might be off in fairyland tossing gubs into our world.<\/p>\n

So now I\u2019m trying to get more specific about what the oddball does, and how it works. I\u2019m thinking I\u2019ll say that contact with the oddball allows telepaths to begin converting normal matter into something I call wacky matter<\/em>. Of course, wacky matter is merely a subsidiary <\/em>bogosity generator. But it\u2019s getting closer to something useable. I was already thinking about wacky matter a year ago, see my Jan 16, 2012, blog post, \u201cFuture Ads. Fun with Wacky Matter.\u201d\u009d<\/a><\/p>\n

So, repeating what I just said, I\u2019ll assume that people who have access to the oddball can turn objects into wacky matter that they control. And later on, people who merely have an understanding of the powers involved in the oddball can create and control wacky matter too.<\/p>\n

<\/p>\n

Let\u2019s back up and describe wacky matter again. Wacky matter is like psychic Silly Putty. It takes on shapes and patterns to match any outr\u00c3\u00a9 mind state. Peoples\u2019 houses might change into big shoes or have rooms with ceilings one inch tall, or maybe look like Dogpatch scenes from Al Capp\u2019s Li\u2019l Abner.<\/em> You might dose your surroundings to make them more vibrant, more cartoony, more congenial. Instead of you getting high, your house gets high! Don\u2019t run your con, let your con run you.<\/p>\n

Why do I want wacky matter? The Big Aha <\/em>is about a future psychedelic revolution that arrives in scientific form. It will be kind of perfect if my qwet, qrude, loofy characters can taint the physical world with wacky matter\u2014thanks to their quantum wetware and their oddball energy. Did Kesey and Leary change the world around them? For awhile. And then the world pushed back. We got hit with Charlie Manson and with disco. Wacky matter became a destructive and repressive force.<\/p>\n

Over the past year, I\u2019d forgotten all about wacky matter. But recently I stumbled across the contemporary real-tech notion of \u201cmetamaterials\u201d\u009d\u2014which reminded me of my fictional concept. Metamaterials are engineered to contain regular lattices of atoms that subject light rays and other electromagnetic fields to transformation optics\u2014a bit like a lens does. Supposedly a metamaterial can become invisible via a so-called electromagnetic cloak or \u201cmetamaterial cloaking<\/a>.\u201d\u009d As the Wikipedia article puts it, \u201cThe guiding vision for the metamaterial cloak is a device that directs the flow of light smoothly around an object, like water flowing past a rock in a stream, without reflection, rendering the object invisible.\u201d\u009d<\/p>\n

<\/p>\n

I don\u2019t want to use the word \u201cmetamaterials\u201d\u009d more than once in The Big Aha<\/em>, and then simply as a background justification for wacky matter. The thing is, I can barely understand the Wikipedia explanations of metamaterials, and the factuality of the concept limits me, and I don\u2019t want to be playing catch-up-ball. Better to take a little inspiration from the science, but then be working with a completely bogus concept that I\u2019ve invented, and which will obligingly have any properties that I require. Writing my own instruction book for my bogosity generator. Wacky matter, not metamaterials.<\/p>\n

I can straight-up use the metamaterial cloaking routine for oddball\/wacky-matter invisibility. And projecting images and objects into wacky matter can be explained with a rap about atoms being quantum computers, and the telepaths\u2019 quantum wetware minds getting entangled with the \u201cminds\u201d\u009d of the atoms. You can make insubstantial illusions simply by selectively tweaking the refractive index of the air. And for objects, you go ahead and do a transmutation of matter routine.<\/p>\n

But I still need to involve the oddball. How is it letting people make wacky matter? Maybe the oddball is helping with the entanglement part.<\/p>\n

And, the payoff part, what can the oddball and the wacky matter do? What\u2019s in the back pages of the instruction manual?<\/p>\n

<\/p>\n

I imagine exploding an object into atoms, but have the atoms remember where they came from so you can play the explosion backwards. Like the atoms were connected to their original locations by rubber-band spacetime threads.<\/p>\n

I want my qwet-heads to reach the Big Aha, which might be the light visible between our thoughts, the white light of the Void.<\/p>\n

Naturally the oddball and wacky matter will pose a threat to the continued existence of the world. The world is a consensus illusion, and the oddball might nudge everyone\/everything out of this illusion. We might lose our balance like a tightrope-walker looking down past the rope to the yawning chasm below.<\/p>\n

The oddball will want to reproduce. In its initial state, it was blocked from so doing. Unwittingly my artist character Zad helps it begin to spread. He incorporates the oddball into one of his new sculptural artworks, hoping to enhance his work for a big come-back show at the Idi Did gallery. But then the work eats the gallery\u2014and most of downtown Louisville, Kentucky. <\/p>\n

Also I need to limn the origin of the oddball<\/em>. Possibly a wetware hacker made the oddball, partly by accident. Perhaps it evolved\u2014but could the evolution have been directed by…the Big Aha?<\/p>\n


\n[A visit from the Golden Age computer theorist, Ted Nelson<\/a>.]<\/em><\/p>\n

One scene I want to do, it\u2019s the ultimate \u201cspaced friend\u201d\u009d scene. My character Junko appears one morning and, thanks to the oddball and wacky matter, she\u2019s altered the dimension signature of the spacetime in her body. Her body has, like, two-dimensional time and two-dimensional space. She slides into the commune\u2019s morning breakfast room, sliding across the floor.<\/p>\n

\u201cRough night, Junko?\u201d\u009d<\/p>\n

Don\u2019t write the bogosity generator, let the bogosity generator write you.<\/p>\n","protected":false},"excerpt":{"rendered":"

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