A group mind, group ego, mind coalescence, or gestalt intelligence in science fiction is a plot device in which multiple minds, or consciousnesses, are linked into a single collective consciousness or intelligence. [1] [2]
This term may be used interchangeably with hive mind. [3] [4] "Hive mind" tends to describe a group mind in which the linked individuals have no identity or free will and are possessed or mind-controlled as extensions of the hive mind. It is frequently associated with the concept of an entity that spreads among individuals and suppresses or subsumes their consciousness in the process of integrating them into its own collective consciousness. The concept of the group or hive mind is an intelligent version of real-life superorganisms such as a beehive or an ant colony.[ citation needed ]
The first alien hive society was depicted in H. G. Wells's The First Men in the Moon (1901) while the use of human hive minds in literature goes back at least as far as David H. Keller's The Human Termites (published in Wonder Stories in 1929) and Olaf Stapledon's science-fiction novel Last and First Men (1930), [5] [6] which is the first known use of the term "group mind" in science fiction. [7] [2] The phrase "hive mind" has been traced to 1943 in a context of beekeeping; its first known use in science fiction was James H. Schmitz's Second Night of Summer (1950). [8] [3] A group mind might be formed by any fictional plot device that facilitates brain to brain communication, such as telepathy.
Some hive minds feature members that are controlled by a centralised "hive brain" or "hive queen," but others feature a decentralised approach in which members interact equally or roughly equally to come to decisions. [9] The packs of Tines in Vernor Vinge's A Fire Upon the Deep and The Children of the Sky are an example of such decentralized group minds. [10]
Hive minds are typically viewed in a negative light, especially in earlier works, but some newer works portray them as neutral or positive. [5] [11]
As conceived in speculative fiction, hive minds often imply (almost) complete loss (or lack) of individuality, identity, and personhood. However, while the individual members of a group mind may not have such things, the group mind as whole will have them, possibly even to greater degree than individual people (just like a human has more personhood than a single neuron cell). The individuals forming the hive may specialize in different functions, similarly to social insects.[ citation needed ]
A Fire Upon the Deep is a 1992 science fiction novel by American writer Vernor Vinge. It is a space opera involving superhuman intelligences, aliens, variable physics, space battles, love, betrayal, genocide, and a communication medium resembling Usenet. A Fire Upon the Deep won the Hugo Award in 1993, sharing it with Doomsday Book by Connie Willis.
An ansible is a category of fictional devices or a technology capable of near-instantaneous or faster-than-light communication. It can send and receive messages to and from a corresponding device over any distance or obstacle whatsoever with no delay, even between star-systems. As a name for such a device, the word "ansible" first appeared in a 1966 novel by Ursula K. Le Guin. Since that time, the term has been broadly used in the works of numerous science-fiction authors, across a variety of settings and continuities. A related term is ultrawave.
Vernor Steffen Vinge was an American science fiction author and professor. He taught mathematics and computer science at San Diego State University. He was the first wide-scale popularizer of the technological singularity concept and among the first authors to present a fictional "cyberspace". He won the Hugo Award for his novels A Fire Upon the Deep (1992), A Deepness in the Sky (1999), and Rainbows End (2006), and novellas Fast Times at Fairmont High (2001) and The Cookie Monster (2004).
The technological singularity—or simply the singularity—is a hypothetical future point in time at which technological growth becomes uncontrollable and irreversible, resulting in unforeseeable consequences for human civilization. According to the most popular version of the singularity hypothesis, I. J. Good's intelligence explosion model of 1965, an upgradable intelligent agent could eventually enter a positive feedback loop of self-improvement cycles, each successive; and more intelligent generation appearing more and more rapidly, causing a rapid increase ("explosion") in intelligence which would ultimately result in a powerful superintelligence, qualitatively far surpassing all human intelligence.
Mind uploading is a speculative process of whole brain emulation in which a brain scan is used to completely emulate the mental state of the individual in a digital computer. The computer would then run a simulation of the brain's information processing, such that it would respond in essentially the same way as the original brain and experience having a sentient conscious mind.
The overwhelming majority of fiction is set on or features the Earth, as the only planet home to humans or known to have life. This also holds true of science fiction, despite perceptions to the contrary. Works that focus specifically on Earth may do so holistically, treating the planet as one semi-biological entity. Counterfactual depictions of the shape of the Earth, be it flat or hollow, are occasionally featured. A personified, living Earth appears in a handful of works. In works set in the far future, Earth can be a center of space-faring human civilization, or just one of many inhabited planets of a galactic empire, and sometimes destroyed by ecological disaster or nuclear war or otherwise forgotten or lost.
A hive mind or group mind may refer to:
In American science fiction of the 1950s and '60s, psionics was a proposed discipline that applied principles of engineering to the study of paranormal or psychic phenomena, such as extrasensory perception, telepathy and psychokinesis. The term is a blend word of psi and the -onics from electronics. The word "psionics" began as, and always remained, a term of art within the science fiction community and—despite the promotional efforts of editor John W. Campbell, Jr.—it never achieved general currency, even among academic parapsychologists. In the years after the term was coined in 1951, it became increasingly evident that no scientific evidence supports the existence of "psionic" abilities.
Singularitarianism is a movement defined by the belief that a technological singularity—the creation of superintelligence—will likely happen in the medium future, and that deliberate action ought to be taken to ensure that the singularity benefits humans.
Literary fiction, mainstream fiction, non-genre fiction, serious fiction, high literature, artistic literature, and sometimes just literature, are labels that, in the book trade, refer to market novels that do not fit neatly into an established genre or, otherwise, refer to novels that are character-driven rather than plot-driven, examine the human condition, use language in an experimental or poetic fashion, or are simply considered serious art.
The philosophy of artificial intelligence is a branch of the philosophy of mind and the philosophy of computer science that explores artificial intelligence and its implications for knowledge and understanding of intelligence, ethics, consciousness, epistemology, and free will. Furthermore, the technology is concerned with the creation of artificial animals or artificial people so the discipline is of considerable interest to philosophers. These factors contributed to the emergence of the philosophy of artificial intelligence.
Intelligence amplification (IA) is the use of information technology in augmenting human intelligence. The idea was first proposed in the 1950s and 1960s by cybernetics and early computer pioneers.
Mind uploading—transferring an individual's personality to a computer—appears in several works of fiction. It is distinct from the concept of transferring a consciousness from one human body to another. It is sometimes applied to a single person and other times to an entire society. Recurring themes in these stories include whether the computerized mind is truly conscious, and if so, whether identity is preserved. It is a common feature of the cyberpunk subgenre, sometimes taking the form of digital immortality.
In science fiction, a time viewer, temporal viewer, or chronoscope is a device that allows another point in time to be observed. The concept has appeared since the late 19th century, constituting a significant yet relatively obscure subgenre of time travel fiction and appearing in various media including literature, cinema, and television. Stories usually explain the technology by referencing cutting-edge science, though sometimes invoking the supernatural instead. Most commonly only the past can be observed, though occasionally time viewers capable of showing the future appear; these devices are sometimes limited in terms of what information about the future can be obtained. Other variations on the concept include being able to listen to the past but not view it.
In science fiction and fantasy literatures, the term insectoid ("insect-like") denotes any fantastical fictional creature sharing physical or other traits with ordinary insects. Most frequently, insect-like or spider-like extraterrestrial life forms is meant; in such cases convergent evolution may presumably be responsible for the existence of such creatures. Occasionally, an earth-bound setting — such as in the film The Fly (1958), in which a scientist is accidentally transformed into a grotesque human–fly hybrid, or Kafka's famous novella The Metamorphosis (1915), which does not bother to explain how a man becomes an enormous insect — is the venue.
Brave New Words: The Oxford Dictionary of Science Fiction is a book published in 2007 by the Oxford University Press. It was edited by Jeff Prucher, with an introduction by Gene Wolfe.
"Bookworm, Run!" is a science fiction short story by American writer Vernor Vinge. His second published work of fiction, it appeared in Analog Science Fiction Science Fact in 1966, and was reprinted in True Names... and Other Dangers in 1987, and in 2001's The Collected Stories of Vernor Vinge.
Immortality is a common theme in fiction. The concept has been depicted since the Epic of Gilgamesh, the oldest known work of fiction. Originally appearing in the domain of mythology, it has later become a recurring element in the genres of horror, science fiction, and fantasy. For most of literary history, the dominant perspective has been that the desire for immortality is misguided, albeit strong; among the posited drawbacks are ennui, loneliness, and social stagnation. This view was challenged in the 20th century by writers such as George Bernard Shaw and Roger Zelazny. Immortality is commonly obtained either from supernatural entities or objects such as the Fountain of Youth or through biological or technological means such as brain transplants.
Soft science fiction, or soft SF, is a category of science fiction with two different definitions, in contrast to hard science fiction. It explores the "soft" sciences, as opposed to the "hard" sciences. It can also refer to science fiction which prioritizes human emotions over scientific accuracy or plausibility.