Anthology of Speculative Fiction, Volume Two

by Short Story Anthology

  As my mind develops, so does my control over my body. It is a misconception to think that during evolution humans sacrificed physical skill in exchange for intelligence: wielding one's body is a mental activity. While my strength hasn't increased, my coordination is now well above average; I'm even becoming ambidextrous. Moreover, my powers of concentration make biofeedback techniques very effective. After comparatively little practice, I am able to raise or lower my heart rate and blood pressure.

  I write a program to perform a pattern match for photos of my face, and search for occurrences of my name; I then incorporate it into a virus for scanning all public display files on the datanet. The CIA will have the national datanet news briefs display my picture and identify me as a dangerously insane escaped patient, perhaps a murderer. The virus will replace my photo with video static. I plant a similar virus in the FDA and CIA computers, to search for copies of my picture in any downloads to regional police. These viruses should be immune to anything that their programmers can come up with.

  Undoubtedly Shea and the other doctors are in consultation with the psychologists of the CIA, guessing where I might have gone. My parents are dead, so the CIA is turning its attention to my friends, asking whether I've contacted them; they'll maintain surveillance on them in the event I do. A regrettable invasion of their privacy, but it isn't a pressing matter.

  It's unlikely that the CIA will treat any of their agents with hormone K to locate me. As I myself demonstrate, a superintelligent person is too difficult to control. However, I'll keep track of the other patients, in case the government decides to recruit them.

  The quotidian patterns of society are revealed without my making effort. I walk down the street, watching people go about their business, and though not a word is spoken, the subtext is conspicuous. A young couple strolls by, the adoration of one bouncing off the tolerance of the other. Apprehension flickers and becomes steady as a businessman, fearful of his supervisor, begins to doubt a decision he made earlier today. A woman wears a mantle of simulated sophistication, but it slips when it brushes past the genuine article.

  As always, the roles one plays become recognizable only with greater maturity. To me, these people seem like children on a playground; I'm amused by their earnestness, and embarassed to remember myself doing those same things. Their activities are appropriate for them, but I couldn't bear to participate now; when I became a man, I put away childish things. I will deal with the world of normal humans only as needed to support myself.

  I acquire years of education each week, assembling ever larger patterns. I view the tapestry of human knowledge from a broader perspective than anyone ever has before; I can fill gaps in the design where scholars never even noticed a lack, and enrich the texture in places that they felt were complete.

  The natural sciences have the clearest patterns. Physics admits of a lovely unification, not just at the level of fundamental forces, but when considering its extent and implications. Classifications like "optics" or "thermodynamics" are just straitjackets, preventing physicists from seeing countless intersections. Even putting aside aesthetics, the practical applications that have been overlooked are legion; years ago engineers could have been artifically generating spherically symmetric gravity fields.

  Having realized this, however, I won't build such a device, or any other. It would require many custom-built components, all difficult and time-consuming to procure. Furthermore, actually constructing the device wouldn't give me any particular satisfaction, since I already know it would work, and it wouldn't illuminate any new gestalts.

  I'm writing part of an extended poem, as an experiment; after I've finished one canto, I'll be able to choose an approach for integrating the patterns within all the arts. I'm employing six modern and four ancient languages; they include most of the significant worldviews of human civilization. Each one provides different shades of meaning and poetic effects; some of the juxtapositions are delightful. Each line of the poem contains neologisms, born by extruding words through the declensions of another language. If I were to complete the entire piece, it could be thought of Finnegans Wake multiplied by Pound'sCantos.

  The CIA interrupts my work; they're baiting a trap for me. After two months of trying, they've accepted that they can't locate me by conventional methods, so they've turned to more drastic measures. The news services report that the girlfriend of a deranged murderer has been charged with aiding and abetting his escape. The name given is Connie Perritt, someone I was seeing last year. If it goes to trial, it's a foregone conclusion that she'll be sentenced to a lengthy prison term; the CIA is hoping that I won't allow that. They expect me to attempt a maneuver that will expose me to capture.

  Connie's preliminary hearing is tomorrow. They'll insure that she's released on bail, through a bondsman if necessary, to give me an opportunity to contact her. Then they'll saturate the area around her apartment with undercover agents to wait for me.

  I begin editing the first image on screen. These digital photos are so minimal compared to holos, but they serve the purpose. The photos, taken yesterday, show the exterior of Connie's apartment building, the street out front, and nearby intersections. I move the cursor across the screen, drawing small crosshairs in certain locations on the images. A window, with lights out but curtains open, in the building diagonally opposite. A street vendor two blocks from the rear of the building.

  I mark six locations altogether. They indicate where CIA agents were waiting last night, when Connie went back to her apartment. Having been cued by the videotapes of me in the hospital, they knew what to look for in all male or ambiguous passers-by: the confident, level gait. Their expectations worked against them; I simply lengthened my strides, bobbed my head up and down a bit, reduced my arm motion. That and some atypical clothes were sufficient for them to ignore me as I walked through the area.

  At the bottom of one photo I type the radio frequency used by the agents for communication, and an equation describing the scrambling algorithm employed. Once I've finished, I transmit the images to the Director of the CIA. The implication is clear: I could kill his undercover agents at any time, unless they withdraw.

  To have them drop charges against Connie, and for a more permanent deterrent against the CIA's distractions, I shall have to do some more work.

  Pattern recognition again, but this time it's of a mundane variety. Thousands of pages of reports, memos, correspondence; each one is a dot of color in a pointillist painting. I step back from this panorama, watching for lines and edges to emerge and create a pattern. The megabytes that I scanned constituted only a fraction of the complete records for the period I investigated, but they were enough.

  What I've found is rather ordinary, far simpler than the plot of a spy novel. The Director of the CIA was aware of a terrorist group's plan to bomb the Washington, D.C. metro system. He let the bombing occur, in order to gain Congressional approval for the use of extreme measures against that group. A congressman's son was among the casualties, and the CIA Director was given a free hand in handling the terrorists. While his plans aren't actually stated in CIA records, they're implied quite clearly. The relevant memos make only oblique references, and they float in a sea of innocuous documents; if an investigating committee were to read all of the records, the evidence would be drowned out by the noise. However, a distillation of the incriminating memos would certainly convince the press.

  I send the list of memos to the Director of the CIA, with a note: "Don't bother me, and I won't bother you." He'll realize that he has no alternative.

  This little episode has reinforced my opinion of the affairs of the world; I could detect clandestine ploys everywhere if I kept informed about current events, but none of them would be interesting. I shall resume my studies.

  Control over my body continues to grow. By now I could walk on hot coals or stick needles in my arm, if I were so inclined. However, my interest in Eastern meditation is limited to its application to physical control; no meditativ
e trance I can attain is nearly as desirable to me as my mental state when I assemble gestalts out of elemental data.

  I'm designing a new language. I've reached the limits of conventional languages, and now they frustrate my attempts to progress further. They lack the power to express concepts that I need, and even in their own domain, they're imprecise and unwieldy. They're hardly fit for speech, let alone thought.

  Existing linguistic theory is useless; I'll reevaluate basic logic to determine the suitable atomic components for my language. This language will support a dialect co-expressive with all of mathematics, so that any equation I write will have a linguistic equivalent. However, mathematics will be only a small part of the language, not the whole; unlike Leibniz, I recognize symbolic logic's limits. Other dialects I have planned will be co-expressive with my notations for aesthetics and cognition. This will be a time-consuming project, but the end result will clarify my thoughts enormously. After I've translated all that I know into this language, the patterns I seek should become evident.

  I pause in my work. Before I develop a notation for aesthetics, I must establish a vocabulary for all the emotions I can imagine.

  I'm aware of many emotions beyond those of normal humans; I see how limited their affective range is. I don't deny the validity of the love and angst I once felt, but I do see them for what they were: like the infatuations and depressions of childhood, they were just the forerunners of what I experience now. My passions now are more multifaceted; as self-knowledge increases, all emotions become exponentially more complex. I must be able to describe them fully if I'm to even attempt the composing tasks ahead.

  Of course, I actually experience far fewer emotions than I could; my development is limited by the intelligence of those around me, and the scant intercourse I permit myself with them. I'm reminded of the Confucian concept of ren: inadequately conveyed by "benevolence," that quality which is quintessentially human, which can only be cultivated through interaction with others, and which a solitary person cannot manifest. It's one of many such qualities. And here am I, with people, people everywhere, yet not a one to interact with. I'm only a fraction of what a complete individual with my intelligence could be.

  I don't delude myself with either self-pity or conceit: I can evaluate my own psychological state with the utmost objectivity and consistency. I know precisely which emotional resources I have and which I lack, and how much value I place on each. I have no regrets.

  My new language is taking shape. It is gestalt-oriented, rendering it beautifully suited for thought, but impractical for writing or speech. It wouldn't be transcribed in the form of words arranged linearly, but as a giant ideogram, to be absorbed as a whole. Such an ideogram could convey, more deliberately than a picture, what a thousand words cannot. The intricacy of each ideogram would be commensurate with the amount of information contained; I amuse myself with the notion of a colossal ideogram that describes the entire universe.

  The printed page is too clumsy and static for this language; the only serviceable media would be video or holo, displaying a time-evolving graphic image. Speaking this language would be out of the question, given the limited bandwidth of the human larynx.

  My mind seethes with expletives from ancient and modern languages, and they taunt me with their crudeness, reminding me that my ideal language would offer terms with sufficient venom to express my present frustration.

  I cannot complete my artificial language; it's too large a project for my present tools. Weeks of concentrated effort have yielded nothing usable. I've attempted to write it via bootstrapping, by employing the rudimentary language that I've already defined to rewrite the language and produce successively fuller versions. Yet each new version only highlights its own inadequacies, forcing me to expand my ultimate goal, condemning it to the status of a Holy Grail at the end of a divergent infinite regress. This is no better than trying to create it ex nihilo.

  What about my fourth ampule? I can't remove it from my thoughts: every frustration I experience at my present plateau reminds me of the possibility for still greater heights.

  Of course, there are significant risks. This injection might be the one that causes brain damage or insanity. Temptation by the Devil, perhaps, but temptation nonetheless. I find no reason to resist.

  I'd have a margin of safety if I injected myself in a hospital, or, failing that, with someone standing by in my apartment. However, I imagine the injection will either be successful or else cause irreparable damage, so I forego those precautions.

  I order equipment from a medical supply company, and assemble an apparatus for administering the spinal injection by myself. It may take days for the full effects to become evident, so I'll confine myself to my bedroom. It's possible that my reaction will be violent; I remove breakables from the room and attach loose straps to the bed. The neighbors will interpret anything they hear as an addict howling.

  I inject myself and wait.

  My brain is on fire, my spine burns itself through my back, I feel near apoplexy. I am blind, deaf, insensate.

  I hallucinate. Seen with such preternatural clarity and contrast that they must be illusory, unspeakable horrors loom all around me, scenes not of physical violence but of psychic mutilation.

  Mental agony and orgasm. Terror and hysterical laughter.

  For a brief moment, perception returns. I'm on the floor, hands clenched in my hair, some uprooted tufts lying around me. My clothes are soaked in sweat. I've bitten my tongue, and my throat is raw: from screaming, I surmise. Convulsions have left my body badly bruised, and a concussion is likely given the contusions on the back of my head, but I feel nothing. Has it been hours or moments?

  Then my vision clouds and the roar returns.

  Critical mass.

  Revelation.

  I understand the mechanism of my own thinking. I know precisely how I know, and my understanding is recursive. I understand the infinite regress of this self-knowing, not by proceeding step by step endlessly, but by apprehending the limit. The nature of recursive cognition is clear to me. A new meaning of the term "self-aware."

  Fiat logos. I know my mind in terms of a language more expressive than any I'd previously imagined. Like God creating order from chaos with an utterance, I make myself anew with this language. It is meta-self-descriptive and -self-editing; not only can it describe thought, it can describe and modify its own operations as well, at all levels. What Gödel would have given to see this language, where modifying a statement causes the entire grammar to be adjusted.

  With this language, I can see how my mind is operating. I don't pretend to see my own neurons firing; such claims belong to John Lilly and his LSD experiments of the sixties. What I can do is perceive the gestalts; I see the mental structures forming, interacting. I see myself thinking, and I see the equations that describe my thinking, and I see myself comprehending the equations, and I see how the equations describe their being comprehended.

  I know how they make up my thoughts.

  These thoughts.

  Initially I am overwhelmed by all this input, paralyzed with awareness of my self. It is hours before I can control the flood of self-describing information. I haven't filtered it away, nor pushed it into the background. It's become integrated into my mental processes, for use during my normal activities. It will be longer before I can take advantage of it, effortlessly and effectively, the way a dancer uses her kinesthetic knowledge.

  All that I once knew theoretically about my mind, I now see detailed explicitly. The undercurrents of sex, aggression, and self-preservation, translated by the conditioning of my childhood, clash with and are sometimes disguised as rational thought. I recognize all the causes of my every mood, the motives behind my every decision.

  What can I do with this knowledge? Much of what is conventionally described as "personality" is at my discretion; the higher-level aspects of my psyche define who I am now. I can send my mind into a variety of mental or emotional states, yet remain ever aware o
f the state and able to restore my original condition. Now that I understand the mechanisms that were operating when I attended to two tasks at once, I can divide my consciousness, simultaneously devoting almost full concentration and gestalt recognition abilities to two or more separate problems, meta-aware of all of them. What can't I do?

  I know my body afresh, as if it were an amputee's stump suddenly replaced by a watchmaker's hand. Controlling my voluntary muscles is trivial; I have inhuman coordination. Skills that normally require thousands of repetitions to develop, I can learn in two or three. I find a video with a shot of a pianist's hands playing, and before long I can duplicate his finger movements without a keyboard in front of me. Selective contraction and relaxation of muscles improve my strength and flexibility. Muscular response time is thirty-five milliseconds, for conscious or reflex action. Learning acrobatics and martial arts would require little training.

  I have somatic awareness of kidney function, nutrient absorption, glandular secretions. I am even conscious of the role that neurotransmitters play in my thoughts. This state of consciousness involves mental activity more intense than in any epinephrine-boosted stress situation; part of my mind is maintaining a condition that would kill a normal mind and body within minutes. As I adjust the programming of my mind, I experience the ebb and flow of all the substances that trigger my emotional reactions, boost my attention, or subtly shape my attitudes.

  And then I look outward.

  Blinding, joyous, fearful symmetry surrounds me. So much is incorporated within patterns now that the entire universe verges on resolving itself into a picture. I'm closing in on the ultimate gestalt: the context in which all knowledge fits and is illuminated, a mandala, the music of the spheres, kosmos.