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That's the problem with any superintelligence story; they are by definition hard to write without being superintelligent. As Vinge was famously told, "you can't write this story. No one can." If a chimpanzee could write a story about a human expert of any sort, the other chimpanzees wouldn't understand it: it would either be gibberish, or dumbed down to superficial analogies that give an illusion of understanding. ("Then he used his rifle -" "what's a rifle?" "it's a stick which is like throwing a rock. Anyway, he traded some bananas for it with another monkey off the Internet." "What's an Internet?" "uh...") 'Flowers' gets around it by starting with a mentally retarded protagonist and specifically trying to avoid any consequences of superintelligence beyond the emotional & social journey, so most of the story is accomplished 'on the runway', as it were, and is about everything but what he learns & does with his intelligence which is pushed into the background. You can see how it starts getting handwavy as soon as the protagonist takes off to smarter than Keys himself, and he starts having to show the progress by him simply doing ordinary-human things but much faster than a dimmer human, like rearranging the bakery for more efficiency or learning Sanskrit in a week. While it's nice to be able to read German or Sanskrit, it's not particularly useful, especially if you are interested in neuroscience; a real protagonist would be doing things Keys can't even imagine, which sound like gibberish like 'ordinary differential equations' or 'symplectic manifold'. Any societal implications are simply ignored. With 'Understand', Chiang starts with an intelligent protagonist, in a strictly realistic universe other than the superintelligence, where he's well aware there would be major societal consequences and military implications and the protagonist can't simply sit around and play with his lab mouse. So his back is against the narrative wall from the start. He cannot do his usual world-building tricks because he's both ruled out the world mechanics he is usually in a privileged position to understand impossibly well because he made them up in the first place, and because he's not smart enough to write the superintelligent character he's assigned himself. It's an interesting story, but I agree that it can't be considered his best. Because he can't write that story as well as he wants to, and no one can. |
This is kind of how "Excession" by Iain M Banks is. Much of the dialogue in the book is supposed to be between the hyperintelligent AI "Minds" that are the ships in his Culture universe. It's supposed to be in a form similar to how they talk to each other. It's quite hard to read. I can never decide which of the two (gibberish or dumbed down) it is. Probably both.