The proÂnounceÂments of French theÂoÂrist Jean BauÂdrillard could sound a bit silÂly in the earÂly 1990s, when the interÂnet was still in its infanÂcy, a slow, clunky techÂnolÂoÂgy whose promisÂes far exceedÂed what it could delivÂer. We hoped for the cyberÂpunk spaces of William GibÂson, and got the beep-boop tediÂum of dial-up. Even so, in his 1991 essay “SimÂuÂlacra and SciÂence FicÂtion,” BauÂdrillard conÂtendÂed that the real and the imagÂiÂnary were no longer disÂtinÂguishÂable, and that the colÂlapse of the disÂtance between them meant that “there is no more ficÂtion.” Or, conÂverseÂly, he sugÂgestÂed, that there is no more realÂiÂty.
What seemed a far-fetched claim about the totalÂiÂty of “cyberÂnetÂics and hyperÂreÂalÂiÂty” in the age of AOL and Netscape now sounds far more plauÂsiÂble. After all, it will soon be posÂsiÂble, if it is not so already, to conÂvincÂingÂly simÂuÂlate events that nevÂer occurred, and to make milÂlions of peoÂple believe they had, not only through fake tweets, “fake news,” and age-old proÂpaÂganÂda, but through sophisÂtiÂcatÂed manipÂuÂlaÂtion of video and audio, through augÂmentÂed realÂiÂty and the onset of “realÂiÂty apaÂthy,” a psyÂchoÂlogÂiÂcal fatigue that overÂwhelms our abilÂiÂties to disÂtinÂguish true and false when everyÂthing appears as a carÂtoonÂish parÂoÂdy of itself.
TechÂnolÂoÂgist Aviv Ovadya has tried since 2016 to warn anyÂone who would lisÂten that such a colÂlapse of realÂiÂty was fast upon us—an “InfoÂcaÂlypse,” he calls it. If this is so, accordÂing to BauÂdrillard, “both traÂdiÂtionÂal SF and theÂoÂry are desÂtined to the same fate: flux and impreÂciÂsion are putting an end to them as speÂcifÂic genÂres.” In an apocÂaÂlypÂtic preÂdicÂtion, he declaimed, “ficÂtion will nevÂer again be a mirÂror held to the future, but rather a desÂperÂate rehalÂluÂciÂnatÂing of the past.” The “colÂlecÂtive marÂketÂplace” of globÂalÂizaÂtion and the BorÂgeÂsian conÂdiÂtion in which “the map covÂers all the terÂriÂtoÂry” have left “no room any more for the imagÂiÂnary.” ComÂpaÂnies set up shop expressÂly to simÂuÂlate and falÂsiÂfy realÂiÂty. Pained irony, pasÂtiche, and cheap nosÂtalÂgia are all that remain.
It’s a bleak sceÂnario, but perÂhaps he was right after all, though it may not yet be time to despair—to give up on realÂiÂty or the role of imagÂiÂnaÂtion. After all, sci-fi writÂers like GibÂson, Philip K. Dick, and J.G. BalÂlard grasped long before most of us the conÂdiÂtion BauÂdrillard described. The subÂject proved for them and many othÂer late-20th cenÂtuÂry sci-fi authors a rich vein for ficÂtion. And perÂhaps, rather than a great disruption—to use the lanÂguage of a start-up culÂture intent on breakÂing things—there remains some conÂtiÂnuÂity with the naĂŻve conÂfiÂdence of past parÂaÂdigms, just as NewÂtonÂian physics still holds true, only in a far more limÂitÂed way than once believed.
Isaac Asimov’s short essay “The RelÂaÂtivÂiÂty of Wrong” is instrucÂtive on this last point. Maybe the theÂoÂry of “hyperÂreÂalÂiÂty” is right, in some fashÂion, but also incomÂplete: a future remains for the most visionÂary creÂative minds to disÂcovÂer, as it did for Asimov’s “psyÂchohisÂtoÂriÂan” Hari SelÂdon in The FounÂdaÂtion TrilÂoÂgy. You can hear a BBC dramaÂtiÂzaÂtion of that groundÂbreakÂing fifties masÂterÂwork in the 47-hour sciÂence ficÂtion playlist above, along with readÂings of clasÂsic stories—like Orson Welles’ infaÂmous radio broadÂcast of H.G. Wells’ War of the Worlds (and an audioÂbook of the same read by EngÂlish actor Maxwell Caulfield). From Jules Verne to H.P. LoveÂcraft to George Orwell; from the mid-fifties time travÂel ficÂtion of Andre NorÂton to the 21st-cenÂtuÂry time-travÂel ficÂtion of Ruth Boswell….
We’ve even got a late entry from theÂatriÂcal prog rock masÂterÂmind Rick WakeÂman, who folÂlowed up his musiÂcal adapÂtaÂtion of JourÂney to the CenÂtre of the Earth with a sequel he penned himÂself, recordÂed in 1974, and released in 1999, called Return to the CenÂtre of the Earth, with narÂraÂtion by Patrick StewÂart and guest appearÂances by Ozzy Osbourne, BonÂnie Tyler, and the Moody Blues’ Justin HayÂward. Does revisÂitÂing sci-fi, “weird ficÂtion,” and operÂatÂic conÂcept albums of the past conÂstiÂtute a “desÂperÂate rehalÂluÂciÂnatÂing” of a bygone “lost object,” as BauÂdrillard believed? Or does it proÂvide the raw mateÂrÂiÂal for today’s psyÂchohisÂtoÂriÂans? I supÂpose it remains to be seen; the future—and the future of sciÂence fiction—may be wide open.
The 47-hour sciÂence ficÂtion playlist above will be added to our colÂlecÂtion of 900 Free Audio Books.
RelatÂed ConÂtent:
Free: Isaac Asimov’s Epic FounÂdaÂtion TrilÂoÂgy DraÂmaÂtized in ClasÂsic Audio
Free: 355 Issues of Galaxy, the GroundÂbreakÂing 1950s SciÂence FicÂtion MagÂaÂzine
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness
SevÂerÂal stoÂries show: “ChapÂter one” by Issac AsiÂmov, or “ChapÂter one” by HG Wells. Please recÂtiÂfy missÂing titles. thanks.
SevÂerÂal Titles are missÂing: There is “ChapÂter one, chapÂter two, etc” by HG Wells and “Episode one, etc” by Issac AsiÂmov. Please recÂtiÂfy. Thanks.