Tag Archives: Iain M. Banks

Will the AIs Let Us Coexist?

At some point in the not too distant future artificial intelligences will far exceed humans in most capacities (except shopping and beer drinking). The scripts according to most Hollywood movies seem to suggest that we, humans, would be (mostly) wiped-out by AI machines, beings, robots or other non-human forms — we being the lesser-organisms, superfluous to AI needs.

Perhaps, we may find an alternate path, to a more benign coexistence, much like that posited in The Culture novels by dearly departed, Iain M. Banks. I’ll go with Mr.Banks’ version. Though, just perhaps, evolution is supposed to leave us behind, replacing our simplistic, selfish intelligence with much more advanced, non-human version.

From the Guardian:

From 2001: A Space Odyssey to Blade Runner and RoboCop to The Matrix, how humans deal with the artificial intelligence they have created has proved a fertile dystopian territory for film-makers. More recently Spike Jonze’s Her and Alex Garland’s forthcoming Ex Machina explore what it might be like to have AI creations living among us and, as Alan Turing’s famous test foregrounded, how tricky it might be to tell the flesh and blood from the chips and code.

These concerns are even troubling some of Silicon Valley’s biggest names: last month Telsa’s Elon Musk described AI as mankind’s “biggest existential threat… we need to be very careful”. What many of us don’t realise is that AI isn’t some far-off technology that only exists in film-maker’s imaginations and computer scientist’s labs. Many of our smartphones employ rudimentary AI techniques to translate languages or answer our queries, while video games employ AI to generate complex, ever-changing gaming scenarios. And so long as Silicon Valley companies such as Google and Facebook continue to acquire AI firms and hire AI experts, AI’s IQ will continue to rise…

Isn’t AI a Steven Spielberg movie?
No arguments there, but the term, which stands for “artificial intelligence”, has a more storied history than Spielberg and Kubrick’s 2001 film. The concept of artificial intelligence goes back to the birth of computing: in 1950, just 14 years after defining the concept of a general-purpose computer, Alan Turing asked “Can machines think?”

It’s something that is still at the front of our minds 64 years later, most recently becoming the core of Alex Garland’s new film, Ex Machina, which sees a young man asked to assess the humanity of a beautiful android. The concept is not a million miles removed from that set out in Turing’s 1950 paper, Computing Machinery and Intelligence, in which he laid out a proposal for the “imitation game” – what we now know as the Turing test. Hook a computer up to text terminal and let it have conversations with a human interrogator, while a real person does the same. The heart of the test is whether, when you ask the interrogator to guess which is the human, “the interrogator [will] decide wrongly as often when the game is played like this as he does when the game is played between a man and a woman”.

Turing said that asking whether machines could pass the imitation game is more useful than the vague and philosophically unclear question of whether or not they “think”. “The original question… I believe to be too meaningless to deserve discussion.” Nonetheless, he thought that by the year 2000, “the use of words and general educated opinion will have altered so much that one will be able to speak of machines thinking without expecting to be contradicted”.

In terms of natural language, he wasn’t far off. Today, it is not uncommon to hear people talking about their computers being “confused”, or taking a long time to do something because they’re “thinking about it”. But even if we are stricter about what counts as a thinking machine, it’s closer to reality than many people think.

So AI exists already?
It depends. We are still nowhere near to passing Turing’s imitation game, despite reports to the contrary. In June, a chatbot called Eugene Goostman successfully fooled a third of judges in a mock Turing test held in London into thinking it was human. But rather than being able to think, Eugene relied on a clever gimmick and a host of tricks. By pretending to be a 13-year-old boy who spoke English as a second language, the machine explained away its many incoherencies, and with a smattering of crude humour and offensive remarks, managed to redirect the conversation when unable to give a straight answer.

The most immediate use of AI tech is natural language processing: working out what we mean when we say or write a command in colloquial language. For something that babies begin to do before they can even walk, it’s an astonishingly hard task. Consider the phrase beloved of AI researchers – “time flies like an arrow, fruit flies like a banana”. Breaking the sentence down into its constituent parts confuses even native English speakers, let alone an algorithm.

Read the entire article here.

Asteroid 5099

Iain (M.) Banks is now where he rightfully belongs — hurtling through space. Though, we fear that he may well not be traveling as fast as he would have wished.

From the Minor Planet Center:

In early April of this year we learnt from Iain Banks himself that he was sick, very sick. Cancer that started in the gall bladder spread quickly and precluded any cure, though he still hoped to be around for a while and see his upcoming novel, The Quarry, hit store shelves in late June. He never did—Iain Banks died on June 9th.

I was introduced to Iain M. Banks’s Sci-Fi novels in graduate school by a good friend who also enjoyed Sci-Fi; he couldn’t believe I’d never even heard of him and remedied what he saw as a huge lapse in my Sci-Fi culture by lending me a couple of his novels. After that I read a few more novels of my own volition because Mr Banks truly was a gifted story teller.

When I heard of his sickness I immediately asked myself what I could do for Mr Banks, and the answer was obvious: Give him an asteroid!

The Minor Planet Center only has the authority to designate new asteroid discoveries (e.g., ’1971 TD1?) and assign numbers to those whose orbits are of a high enough accuracy (e.g., ’5099?), but names for numbered asteroids must be submitted to, and approved by, the Committee for Small Body Nomenclature (CSBN) of the IAU (International Astronomical Union). With the help of Dr Gareth Williams, the MPC’s representative on the CSBN, we submitted a request to name an asteroid after Iain Banks with the hope that it would be approved soon enough for Mr Banks to enjoy it. Sadly, that has not been possible. Nevertheless, I am here to announce that on June 23rd, 2013, asteroid (5099) was officially named Iainbanks by the IAU, and will be referred to as such for as long as Earth Culture may endure.

The official citation for the asteroid reads:

Iain M. Banks (1954-2013) was a Scottish writer best known for the Culture series of science ?ction novels; he also wrote ?ction as Iain Banks. An evangelical atheist and lover of whisky, he scorned social media and enjoyed writing music. He was an extra in Monty Python & The Holy Grail.

Asteroid Iainbanks resides in the Main Asteroid Belt of the Sol system; with a size of 6.1 km (3.8 miles), it takes 3.94 years to complete a revolution around the Sun. It is most likely of a stony composition. Here is an interactive 3D orbit diagram.

The Culture is an advanced society in whose midst most of Mr Banks’s Sci-Fi novels take place. Thanks to their technology they are able to hollow out asteroids and use them as ships capable of faster-than-light travel while providing a living habitat with centrifugally-generated gravity for their thousands of denizens. I’d like to think Mr Banks would have been amused to have his own rock.

Read the entire article here.

Image: Orbit Diagram of asteroid (5099) Iainbanks. Cyan ellipses represent the orbits of the planets (from closer to further from the Sun) Mercury, Venus, Earth, Mars and Jupiter. The black ellipse represents the orbit of asteroid Iainbanks. The shaded region lies below the ecliptic plane, the non shaded, above. Courtesy of Minor Planet Center.

Iain (M.) Banks

On June 9, 2013 we lost Iain Banks to cancer. He was a passionate human(ist) and a literary great.

Luckily he left us with a startling collection of resonant and complex works. Most notably his series of Culture novels that prophesied a distant future, which one day will surely bear his name as a founding member. Mr.Banks, you will be greatly missed.

From the Guardian

The writer Iain Banks, who has died aged 59, had already prepared his many admirers for his death. On 3 April he announced on his website that he had inoperable gall bladder cancer, giving him, at most, a year to live. The announcement was typically candid and rueful. It was also characteristic in another way: Banks had a large web-attentive readership who liked to follow his latest reflections as well as his writings. Particularly in his later years, he frequently projected his thoughts via the internet. There can have been few novelists of recent years who were more aware of what their readers thought of their books; there is a frequent sense in his novels of an author teasing, testing and replying to a readership with which he was pretty familiar.

His first published novel, The Wasp Factory, appeared in 1984, when he was 30 years old, though it had been rejected by six publishers before being accepted by Macmillan. It was an immediate succès de scandale. The narrator is the 16-year-old Frank Cauldhame, who lives with his taciturn father in an isolated house on the north-east coast of Scotland. Frank lives in a world of private rituals, some of which involve torturing animals, and has committed several murders. The explanation of his isolation and his obsessiveness is shockingly revealed in one of the culminating plot twists for which Banks was to become renowned.

It was followed by Walking on Glass (1985), composed of three separate narratives whose connections are deliberately made obscure until near the end of the novel. One of these seems to be a science fiction narrative and points the way to Banks’s strong interest in this genre. Equally, multiple narration would continue to feature in his work.

The next year’s novel, The Bridge, featured three separate stories told in different styles: one a realist narrative about Alex, a manager in an engineering company, who crashes his car on the Forth road bridge; another the story of John Orr, an amnesiac living on a city-sized version of the bridge; and a third, the first-person narrative of the Barbarian, retelling myths and legends in colloquial Scots. In combining fantasy and allegory with minutely located naturalistic narrative, it was clearly influenced by Alasdair Gray’s Lanark (1981). It remained the author’s own avowed favourite.

His first science fiction novel, Consider Phlebas, was published in 1987, though he had drafted it soon after completing The Wasp Factory. In it he created The Culture, a galaxy-hopping society run by powerful but benevolent machines and possessed of what its inventor called “well-armed liberal niceness”. It would feature in most of his subsequent sci-fi novels. Its enemies are the Idirans, a religious, humanoid race who resent the benign powers of the Culture. In this conflict, good and ill are not simply apportioned. Banks provided a heady mix of, on the one hand, action and intrigue on a cosmic scale (his books were often called “space operas”), and, on the other, ruminations on the clash of ideas and ideologies.

For the rest of his career literary novels would alternate with works of science fiction, the latter appearing under the name “Iain M Banks” (the “M” standing for Menzies). Banks sometimes spoke of his science fiction books as a writerly vacation from the demands of literary fiction, where he could “pull out the stops”, as he himself put it. Player of Games (1988) was followed by Use of Weapons (1990). The science fiction employed some of the narrative trickery that characterised his literary fiction: Use of Weapons, for instance, featured two interleaved narratives, one of which moved forward in time and the other backwards. Their connectedness only became clear with a final, somewhat outrageous, twist of the narrative. His many fans came to relish these tricks.

Read the entire article here.

Image: Iain Banks. Courtesy of BBC.

Iain (M.) Banks

Where is the technology of the Culture when it’s most needed? Nothing more to add.

From the Guardian:

In Iain M Banks’s finest creation, the universe of the Culture, death is largely optional. It’s an option most people take in the end: they take it after three or four centuries, after living on a suitably wide variety of planets and in a suitably wide variety of bodies, and after a life of hedonism appropriate to the anarcho-communist Age of Plenty galactic civilisation in which they live; they take it in partial, reversible forms. But they take it. It’s an option.

Sadly, and obviously, that’s not true for us. Banks himself has released a statement on his website, saying that he has terminal cancer. He tells us as much with his usual eye for technical detail and stark impact:

I have cancer. It started in my gall bladder, has infected both lobes of my liver and probably also my pancreas and some lymph nodes, plus one tumour is massed around a group of major blood vessels in the same volume, effectively ruling out any chance of surgery to remove the tumours… The bottom line, now, I’m afraid, is that as a late stage gall bladder cancer patient, I’m expected to live for ‘several months’ and it’s extremely unlikely I’ll live beyond a year.

So there you have it.

Anything I write about Banks and his work, both as Iain Banks and Iain M Banks (for the uninitiated, Iain Banks is the name he publishes his non-genre novels under; Iain M Banks is for his sci-fi stuff), will ultimately be about me, I realise. I can’t pretend to say What His Work Meant for Literature or for Sci-Fi, because I don’t know what it meant; I can’t speak about him as a human being, beyond what I thought I could detect of his personality through his work (humane and witty and fascinated by the new, for the record), because I haven’t met him.

With that in mind, I just wanted to talk a bit about why I love his books, why I think he is one – or two, really – of our finest living writers, and how his work has had probably more impact on me than any other fiction writer.

I first read The Wasp Factory in about 1996, when my mum, keen to get me reading pretty much anything that wasn’t Terry Pratchett, heard of this “enfant explosif” of Scottish literature. It’s a slightly tricky admission to make in a hagiographical piece like this one, but I wasn’t all that taken with it: it felt a little bleak and soulless, and the literary pyrotechnics and grand gothic sequences didn’t rescue it. But then I read Excession, one of his M Banks sci-fi novels, set in the Culture; and then I read The Crow Road, his hilarious and moving madcap family-history-murder-mystery set in the Scottish wilds; and I was hooked.

Since then I’ve read literally everything he’s published under M Banks, and most of the stuff under Banks. There are hits and misses, but the misses are never bad and the hits are spectacular. He creates vivid characters; he paints scenes in sparkling detail; he has plots that rollick along like Dan Brown’s are supposed to, but don’t.

And what’s most brilliant, at least for me as a lifelong fan of both sci-fi and “proper” literature, is that he takes the same simple but vital skills – well-drawn characters, clever writing, believable dialogue – from his non-genre novels and applies them to his sci-fi, allied to dizzying imagination and serious knowledge.

Read the entire article after the jump.

Image: Iain Banks. Courtesy of the Guardian.