"The world is really so surreal these days that it's necessary for us to blunt it somehow in order to stay sane. The artist functions to short-circuit the buffering mechanism, so that people can occasionally perceive the weirdness of things as they are."
- William Gibson
||Projects a possible future, based on your own impressions.
|The professor's quarters were but a block from the campus. He ushered me into the Physics Building, and thence into his own research laboratory, much like the one I had visited during my courses under him. The device—he called it his "subjunctivisor," since it operated in hypothetical worlds —occupied the entire center table. Most of it was merely a Horsten psychomat, but glittering crystalline and glassy was the prism of Iceland spar, the polarizing agent that was the heart of the instrument.
Van Manderpootz pointed to the headpiece. "Put it on," he said, and I sat staring at the screen of the psychomat. I suppose everyone is familiar with the Horsten psychomat; it was as much a fad a few years ago as the ouija board a century back. Yet it isn't just a toy; sometimes, much as the ouija board, it's a real aid to memory. A maze of vague and colored shadows is caused to drift slowly across the screen, and one watches them, meanwhile visualizing whatever scene or circumstances he is trying to remember. He turns a knob that alters the arrangement of lights and shadows, and when, by chance, the design corresponds to his mental picture—presto! There is his scene re-created under his eyes. Of course his own mind adds the details. All the screen actually shows are these tinted blobs of light and shadow, but the thing can be amazingly real. I've seen occasions when I could have sworn the psychomat showed pictures almost as sharp and detailed as reality itself; the illusion is sometimes as startling as that.
Van Manderpootz switched on the light, and the play of shadows began. "Now recall the circumstances of, say, a half-year after the market crash. Turn the knob until the picture clears, then stop. At that point I direct the light of the subjunctivisor upon the screen, and you have nothing to do but watch."
I did as directed. Momentary pictures formed and vanished. The inchoate sounds of the device hummed like distant voices, but without the added suggestion of the picture, they meant nothing. My own face flashed and dissolved and then, finally, I had it. There was a picture of myself sitting in an ill-defined room; that was all. I released the knob and gestured...
|From The Worlds of If,
by Stanley G. Weinbaum.
Published by Wonder Stories in 1935
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Later, after just missing being on a plane that crashed, he wonders:
Of course, if they'd waited an extra five minutes for me, or if I'd been on time and they'd left on schedule instead of five minutes late, or if —if!
If! The word called up van Manderpootz and his subjunctivisor—the worlds of "if," the weird, unreal worlds that existed beside reality, neither past nor future, but contemporary, yet extemporal. Somewhere among their ghostly infinities existed one that represented the world that would have been had I made the liner.
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