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Science Fiction
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"Everything starts as somebody's daydream. And, when you're daydreaming, it is science fiction. It's when you start work out how you put it together, true science fiction becomes real science."
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Dr. Rufus Maddon, author of Suggestions on Time
Focus published in 1950, arrived four hundred years in the future.
TT appeared that in four hundred years
nothing at all had been accomplished.
Many familiar buildings had collapsed.
Others still stood. He looked in vain for
a newspaper or a magazine.
One new element of this world of the
future bothered him considerably. That
was the number of low-slung whitepanel delivery trucks. They seemed to
be in better condition than the other
vehicles. Each bore in fairly large gilt
letters the legend WORLD SENSEWAYS.
But he noticed that the smaller print
underneath the large inscription varied. Some read, Feeder Division - others, Hookup Division.
"All their energies went into wars
and rumors of wars and random scientific advancement and sociological disruptions. Of course, with Video on the
march at that time, they were beginning to get a little preview. Millions of
people were beginning to sit in front
of the Video screens, content even with
that crude excuse for entertainment."
Cramer suppressed a yawn. Handriss
was known to go on like that for hours.
"Now," Handriss continued, "all the
efforts of a world society are channeled
into World Senseways. There is no waste
of effort changing a perfectly acceptable status quo. Every man can have
Temp and if you save your money you
can have Permanent, which they say,
is as close to heaven as man can get..."
Have Hookup install
him immediately."
THE subterranean corridor had once been used for underground trains.
But with the reduction in population it
had ceased to pay its way and had been
taken over by World Senseways to house
the sixty-five thousand Perms.
Dr. Rufus Maddon was taken, in his
new shambling walk, to the shining
cubicle. His name and the date of installation were written on a card and inserted in the door slot. Handriss stood
enviously aside and watched the process.
The bored technicians worked rapidly. They stripped the unprotesting
Rufus Maddon, took him inside his
cubicle, forced him down onto the foam
couch. They rolled him over onto his
side, made the usual incision at the
back of his neck, carefully slit the main
motor nerves, leaving the senses, the
heart and lungs intact. They checked
the air conditioning and plugged him
into the feeding schedule for that bank
of Perms.
Next they swung the handrods and
the footplates into position, gave him
injections of local anaesthetic, expertly
flayed the palms of his hands and the
soles of his feet, painted the raw flesh
with the sticky nerve graft and held
his hands closed around the rods, his
feet against the plates until they adhered in the proper position...
Back in the cubicle the technicians
were making the final adjustments.
They inserted the sound buttons in
Rufus Maddon's ears, deftly removed
his eyelids, moved his head into just
the right position and then pulled down
the deeply concave shining screen so
that Rufus Maddon's staring eyes
looked directly into it.
The elder technician pulled the wall
switch. He bent and peered into the
screen. "Color okay, three dimensions
okay. Come on, Joe, we got another to
do before quitting.'
They left, closed the metal door,
locked it.
Inside the cubicle Dr. Rufus Maddon
was riding slowly down the steep trail
from the mesa to the cattle town on the
plains...
Envious? I'll say.
Al sighed enviously. "Nothing to do
for as long as he lives except twenty-four hours a day of being the hero of
the most adventurous and glamorous
and exciting stories that the race has
been able to devise. No memories. I told
them to dial him in on the Cowboy
series. There's seven years of that now.
It'll be more familiar to him. I'm electing Crime and Detection. Eleven years
of that now, you know."
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 magic spectacles fro Pygmalion's Spectacles, by Stanley G. Weinbaum, 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.
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