Quantum Fiction Paper

On January 5th, I entered an abstract for the Science of Consciousness Conference in Barcelona, July 6-11. The title of my proposed paper was “Quantum Fiction as a Response to Cultural Pressure Following Advances in Quantum Perception and Artificial Intelligence.”

 I will be notified on Feb. 20 as to whether my abstract is accepted.

 This is a big deal to me. This is the first abstract I’ve submitted in 30 years.

 The text of my abstract follows:

 “In the late 19th and early 20th centuries we were at a crossroads. Photography had made the traditional role of the artist "obsolete," and social fragmentation created pressures and new ideas. Art responded by developing modern art methods which created works which photography could not match. Einstein's relativity and especially it's confirmation in the eclipse of 1919 corresponded with forms such as cubism almost as a response. These were created by artists which may not have understood the deeper parts of theory, but recognized the cultural pressure and the revolutionary nature of the ideas.

“Today, similarly, literature is under pressure to defend itself or transform with the advent of artificial intelligence. Now, a "novel can be created in seconds" by giving ChatGTP the parameters. And, we have the possibility of a "1919 moment" with experiments which may confirm Penrose-Hameroff theories of quantum structures giving rise to consciousness.

 “We can imagine literature responding to A.I. in a Darwinian sense by "creating things which ChatGTP cannot replicate." The simultaneous interest in quantum consciousness might inform this exploration by defining quantum structures or events in prose.

 “"Quantum Fiction" has been a niche genre in literature since it was defined in 1990 by Charles Platt. It is not a dystopian nor scientific genre, but one in which quantum elements alter plot structure, character development, or even diverse elements such as dialogue. As a genre, it is always hybrid in its incorporation. For example, a story might be described as "epic fantasy, but it has some quantum elements." The production of a "pure quantum" story may have been attempted, but this may lead to instability in structure or development, such as leaving a strictly linear timeline and consistent point of view in favor of quantum randomness which seems indecipherable.

 “Quantum fiction has been problematic to sell. Author Vera Ulea stated, "The theme can be any, including the quantum one, but the technique should be unlike the one we observe in mainstream literature. Therefore, a traditional formulaic language of synopsis required by literary agents and commercial publishers doesn‘t work for QG. The Quantum Work can‘t be sold to them and it has no appeal to the mainstream reader just in the same way as Impressionism or Cubism had no appeal to the general viewer." This author sees this exploration as a crucial reaction to cultural pressures from theoretical advances.

 “The quantum works might help people accept and have an image towards "quantum weirdness," exactly in the way that modern art offered an acceptable image towards relativity. If this new revolution follows a similar course, these works would be produced and consumed by those without scientific knowledge of quantum theory. But if literature is to help contribute to broad imaging of quantum theory, traditional methods of judging and publishing works must adapt from traditional structures to something more inviting and accepting towards quantum forms.”