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"The best fuzzy rules, the best knowledge, deal with the turning points of the system. If a race-car driver teaches you how to drive, you don't need him to show you how to drive on the straightaway. It's how he handles the curves that matters."
- Bart Kosko
 |
| Magic Spectacles | ||
| Very early take on virtual reality hardware. |
Here's the overall claim:
The beard waggled; elf-bright eyes glittered queerly at him. "All artists do that," said the old man softly. Dan felt that something more quivered on the verge of utterance.
"That's an evasion," he grunted. "Anybody can tell the difference between a picture and the real thing, or between a movie and life."
"But," whispered the other, "the realer the better, no? And if one could make a—a movie—very real indeed, what would you say then?"
Dan laughed. "Of course nobody knows anything. You just get what information you can through the windows of your five senses, and then make your guesses. When they're wrong, you pay the penalty." His mind was clear now save for a mild headache. "Listen," he said suddenly. "You can argue a reality away to an illusion; that's easy. But if your friend Berkeley is right, why can't you take a dream and make it real? If it works one way, it must work the other."
| "Listen! I'm Albert Ludwig—Professor Ludwig." As Dan was silent, he continued, "It means nothing to you, eh? But listen—a movie that gives one sight and sound. Suppose now I add taste, smell, even touch, if your interest is taken by the story. Suppose I make it so that you are in the story, you speak to the shadows, and the shadows reply, and instead of being on a screen, the story is all about you, and you are in it. Would that be to make real a dream?"
"How the devil could you do that?" "How? How? But simply! First my liquid positive, then my magic spectacles. I photograph the story in a liquid with light-sensitive chromates. I build up a complex solution—do you see? I add taste chemically and sound electrically. And when the story is recorded, then I put the solution in my spectacles—my movie projector. I electrolyze the solution, the story, sight, sound, smell, taste all!..." In his room Ludwig fumbled in a bag, producing a device vaguely reminiscent of a gas mask. There were goggles and a rubber mouthpiece; Dan examined it curiously, while the little bearded professor brandished a bottle of watery liquid. "Here it is!" he gloated. "My liquid positive, the story. Hard photography —infernally hard, therefore the simplest story. A Utopia—just two characters and you, the audience. Now, put the spectacles on. Put them on and tell me what fools the Westman people are!" He decanted some of the liquid into the mask, and trailed a twisted wire to a device on the table. "A rectifier," he explained. "For the electrolysis." "Must you use all the liquid?" asked Dan. "If you use part, do you see only part of the story? And which part?" "Every drop has all of it, but you must fill the eye-pieces." Then as Dan slipped the device gingerly on, "So! Now what do you see?" "Not a damn thing. Just the windows and the lights across the street." "Of course. But now I start the electrolysis. Now!" There was a moment of chaos. The liquid before Dan's eyes clouded suddenly white, and formless sounds buzzed. He moved to tear the device from his head, but emerging forms in the mistiness caught his interest. Giant things were writhing there. The scene steadied; the whiteness was dissipating like mist in summer. Unbelieving, still gripping the arms of that unseen chair, he was staring at a forest. But what a forest! Incredible, unearthly, beautiful! Smooth holes ascended inconceivably toward a brightening sky, trees bizarre as the forests of the Carboniferous age. Infinitely overhead swayed misty fronds, and the verdure showed brown and green in the heights. And there were birds—at least, curiously loving pipings and twitterings were all about him though he saw no creatures—thin elfin whistlings like fairy bugles sounded softly. He sat frozen, entranced. A louder fragment of melody drifted down to him, mounting in exquisite, ecstatic bursts, now clear as sounding metal, now soft as remembered music. For a moment he forgot the chair whose arms he gripped, the miserable hotel room invisibly about him, old Ludwig, his aching head. He imagined himself alone in the midst of that lovely glade. "Eden!" he muttered, and the swelling music of unseen voices answered. |
| Technovelgy from Pygmalion's Spectacles,
by Stanley G. Weinbaum. Published by Astounding Science Fiction in 1935 Additional resources -
|
Compare to Life Chamber from The Chamber of Life (1929) by G. Peyton Wertenbaker, the feelies from Aldous Huxley's Brave New World (1932), the Saga technology from Arthur C. Clarke's The City and the Stars (1956) and stimsim from William Gibson's Neuromancer (1984).
Compare also to video glasses from Islands in the Net (1988) by Bruce Sterling, Tru-Vu Lenses from Earth (1990) by David Brin, data goggles from Snow Crash (1992) by Neal Stephenson,eyecaps from Starfish (1999) by Peter Watts, overlay specs from Halting State (2007) by Charles Stross and HUD glasses from Daemon (2009) by Daniel Suarez.
Compare to the Telepadion Instructor from An Adventure on Eros (1931) by J. Harvey Haggard, the magic spectacles from Pygmalion's Spectacles (1935) by Stanley G. Weinbaum, the Saga technology from Arthur C. Clarke's The City and the Stars (1956) and by four and a half decades The Eden Cycle. See also the phantomatic generator (1964) by Stanislaw Lem.
I'd also mention the feelies from Aldous Huxley's Brave New World (1932), although the feelies did not offer a fully immersive experience, and stimsim from William Gibson's Neuromancer (1984).
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