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BLINDSIGHT (Firefall, 1) Paperback – March 4, 2008
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Hugo and Shirley Jackson award-winning Peter Watts stands on the cutting edge of hard SF with his acclaimed novel, Blindsight
Two months since the stars fell...
Two months of silence, while a world held its breath.
Now some half-derelict space probe, sparking fitfully past Neptune's orbit, hears a whisper from the edge of the solar system: a faint signal sweeping the cosmos like a lighthouse beam. Whatever's out there isn't talking to us. It's talking to some distant star, perhaps. Or perhaps to something closer, something en route.
So who do you send to force introductions with unknown and unknowable alien intellect that doesn't wish to be met?
You send a linguist with multiple personalities, her brain surgically partitioned into separate, sentient processing cores. You send a biologist so radically interfaced with machinery that he sees x-rays and tastes ultrasound. You send a pacifist warrior in the faint hope she won't be needed. You send a monster to command them all, an extinct hominid predator once called vampire, recalled from the grave with the voodoo of recombinant genetics and the blood of sociopaths. And you send a synthesist―an informational topologist with half his mind gone―as an interface between here and there.
Pray they can be trusted with the fate of a world. They may be more alien than the thing they've been sent to find.
- Print length384 pages
- LanguageEnglish
- PublisherTor Trade
- Publication dateMarch 4, 2008
- Dimensions5.5 x 0.96 x 8.25 inches
- ISBN-100765319640
- ISBN-13978-0765319647
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Editorial Reviews
Review
“Watts explores the nature of consciousness in this stimulating hard SF novel, which combines riveting action with a fascinating alien environment. Watts puts a terrifying and original spin on the familiar alien contact story. ” ―Publishers Weekly (starred review)
"A brilliant piece of work, one that will delight fans of hard science fiction, but will also demonstrate to literary fans that contemporary science fiction is dynamic and fascinating literature that demands to be read.” ―The Edmonton Journal
“Astonishingly readable book. . . . [Watts is] one of the two or three best hard SF writers around, and this is his finest book to date.” ―Interzone
"Blindsight is fearless: a magnificent, darkly gleaming jewel of a book that hurdles the contradictions inherent in biochemistry, consciousness, and human hearts without breaking stride. Imagine you are Siri Keeton. Imagine you are nothing at all. You don't have to; Peter Watts has done it for you.” ―Elizabeth Bear, author of Hammered
“Peter Watts has taken the core myths of the First Contact story and shaken them to pieces. The result is a shocking and mesmerizing performance, a tour-de-force of provocative and often alarming ideas. It is a rare novel that has the potential to set science fiction on an entirely new course. Blindsight is such a book.” ―Karl Schroeder
“Blindsight is a tour de force, redefining the First Contact story for good. Peter Watts' aliens are neither humans in funny make-up nor incomprehensible monoliths beyond human comprehension -- they're something new and infinitely more disturbing, forcing us to confront unpalatable possibilities about the nature of consciousness. It's good, and it'll make your skin crawl when you stop to think about it. Strongly recommended: this may be the best hard SF read of 2006.” ―Charles Stross
“Blindsight is excellent. It's state-of-the-art science fiction: smart, dark and it grabs you by the throat from page one. Like a C J Cherryh book it makes you feel the danger of the hostile environment (or lack of one) out there. And unlike many books it plays with some fascinating possibilities in human development (I like the idea of some disabilities becoming advantages here) and some disconcerting ideas about human consciousness (understanding what action preceding though actually means). What else can I say? Thanks for giving me the privilege of reading this.” ―Neal Asher
“It seems clear that every second Peter Watts is not actually writing must be spent reading, out at the cutting edge of all the sciences and all the arts at once. Only that can't be so, because he obviously spends fully as much time thinking about everything he's read, before he sits down to turn it into story. His latest starts by proving that there are circumstances in which half a brain is better than one, or even a dozen-and then builds steadily in strangeness and wonder with every page. If Samuel R. Delany, Greg Egan and Vernor Vinge had collaborated to update Algis Budrys's classic Rogue Moon for the new millenium, they might have produced a novel as powerful and as uniquely beautiful as Blindsight. Its narrator is one of the most unforgettable characters I have ever encountered in fiction.” ―Spider Robinson, co-author of Variable Star by Robert A. Heinlein and Spider Robinson
About the Author
Peter Watts is a former marine biologist, flesh-eating-disease survivor and convicted felon whose novels―despite an unhealthy focus on space vampires―have become required texts for university courses ranging from Philosophy to Neuropsychology.
His work is available in 21 languages, has appeared in over 350 best-of-year anthologies, and been nominated for over 50 awards in a dozen countries. His (somewhat shorter) list of 20 actual wins includes the Hugo, the Shirley Jackson, and the Seiun.
Peter is the author of the Rifters novels (Starfish, Maelstrom) and the Firefall series (Blindsight, Echopraxia).
Excerpt. © Reprinted by permission. All rights reserved.
Blindsight
By Watts, PeterTor Books
Copyright ©2008 Watts, PeterAll right reserved.
ISBN: 9780765319647
Chapter One
Blood makes noise.
—Suzanne Vega
Imagine you are Siri Keeton.
You wake in an agony of resurrection, gasping after a record-shattering bout of sleep apnea spanning one hundred forty days. You can feel your blood, syrupy with dobutamine and leuenkephalin, forcing its way through arteries shriveled by months on standby. The body inflates in painful increments: blood vessels dilate, flesh peels apart from flesh, ribs crack in your ears with sudden unaccustomed flexion. Your joints have seized up through disuse. You’re a stick man, frozen in some perverse rigor vitae.
You’d scream if you had the breath.
Vampires did this all the time, you remember. It was normal for them, it was their own unique take on resource conservation. They could have taught your kind a few things about restraint, if that absurd aversion to right angles hadn’t done them in at the dawn of civilization. Maybe they still can. They’re back now, after all—raised from the grave with the voodoo of paleogenetics, stitched together from junk genes and fossil marrow steeped in the blood of sociopaths and high-functioning autistics. One of them commands this very mission. A handful of his genes live on in your own body so it too can rise from the dead, here at the edge of interstellar space. Nobody gets past Jupiter without becoming part vampire.
The pain begins, just slightly, to recede. You fire up your inlays and access your own vitals. It’ll be long minutes before your body responds fully to motor commands, hours before it stops hurting. The pain’s an unavoidable side effect. That’s just what happens when you splice vampire subroutines into Human code. You asked about painkillers once, but nerve blocks of any kind compromise metabolic reactivation. Suck it up, soldier.
You wonder if this was how it felt for Chelsea, before the end. But that evokes a whole other kind of pain, so you block it out and concentrate on the life pushing its way back into your extremities. Suffering in silence, you check the logs for fresh telemetry.
You think: That can’t be right.
Because if it is, you’re in the wrong part of the universe. You’re not in the Kuiper Belt where you belong: you’re high above the ecliptic and deep into the Oort, the realm of long-period comets that only grace the sun every million years or so. You’ve gone interstellar, which means (you bring up the system clock) you’ve been undead for eighteen hundred days.
You’ve overslept by almost five years.
The lid of your coffin slides away. Your own cadaverous body reflects from the mirrored bulkhead opposite, a desiccated lungfish waiting for the rains. Bladders of isotonic saline cling to its limbs like engorged antiparasites, like the opposite of leeches. You remember the needles going in just before you shut down, way back when your veins were more than dry twisted filaments of beef jerky.
Szpindel’s reflection stares back from his own pod to your immediate right. His face is as bloodless and skeletal as yours. His wide sunken eyes jiggle in their sockets as he reacquires his own links, sensory interfaces so massive that your own off-the-shelf inlays amount to shadow puppetry in comparison.
You hear coughing and the rustling of limbs just past line of sight, catch glimpses of reflected motion where the others stir at the edge of vision.
“Wha . . . ” your voice is barely more than a hoarse whisper, “. . . happ . . . ?”
Szpindel works his jaw. Bone cracks audibly.
“. . . Sssuckered,” he hisses.
You haven’t even met the aliens yet, and already they’re running rings around you.
So we dragged ourselves back from the dead: five part-time cadavers, naked, emaciated, barely able to move even in zero g. We emerged from our coffins like premature moths ripped from their cocoons, still half-grub. We were alone and off course and utterly helpless, and it took a conscious effort to remember: They would never have risked our lives if we hadn’t been essential.
“Morning, commissar.” Isaac Szpindel reached one trembling, insensate hand for the feedback gloves at the base of his pod. Just past him, Susan James was curled into a loose fetal ball, murmuring to herselves. Only Amanda Bates, already dressed and cycling through a sequence of bone-cracking isometrics, possessed anything approaching mobility. Every now and then she tried bouncing a rubber ball off the bulkhead; but not even she was up to catching it on the rebound yet.
The journey had melted us down to a common archetype. James’s round cheeks and hips; Szpindel’s high forehead and lumpy, lanky chassis—even the enhanced carboplatinum brick shit house that Bates used for a body—all had shriveled to the same desiccated collection of sticks and bones. Even our hair seemed to have become strangely discolored during the voyage, although I knew that was impossible. More likely it was just filtering the pallor of the skin beneath. Still. The pre-dead James had been dirty blond, Szpindel’s hair had been almost dark enough to call black, but the stuff floating from their scalps looked the same dull kelpy brown to me now. Bates kept her head shaved, but even her eyebrows weren’t as rusty as I remembered them.
We’d revert to our old selves soon enough. Just add water. For now, though, the old slur was freshly relevant: The Undead really did all look the same, if you didn’t know how to look.
If you did, of course—if you forgot appearance and watched for motion, ignored meat and studied topology—you’d never mistake one for another. Every facial tic was a data point, every conversational pause spoke volumes more than the words to either side. I could see James’s personae shatter and coalesce in the flutter of an eyelash. Szpindel’s unspoken distrust of Amanda Bates shouted from the corner of his smile. Every twitch of the phenotype cried aloud to anyone who knew the language.
“Where’s—” James croaked, coughed, waved one spindly arm at Sarasti’s empty coffin gaping at the end of the row.
Szpindel’s lips cracked in a small rictus. “Gone back to Fab, eh? Getting the ship to build some dirt to lie on.”
“Probably communing with the Captain.” Bates breathed louder than she spoke, a dry rustle from pipes still getting reacquainted with the idea of respiration.
James again: “Could do that up here.”
“Could take a dump up here, too,” Szpindel rasped. “Some things you do by yourself, eh?”
And some things you kept to yourself. Not many baselines felt comfortable locking stares with a vampire—Sarasti, ever courteous, tended to avoid eye contact for exactly that reason—but there were other surfaces to his topology, just as mammalian and just as readable. If he had withdrawn from public view, maybe I was the reason. Maybe he was keeping secrets.
After all, Theseus damn well was.
She’d taken us a good fifteen AUs toward our destination before something scared her off course. Then she’d skidded north like a startled cat and started climbing: a wild high three-g burn off the ecliptic, thirteen hundred tonnes of momentum bucking against Newton’s first. She’d emptied her Penn tanks, bled dry her substrate mass, squandered a hundred forty days’ of fuel in hours. Then a long cold coast through the abyss, years of stingy accounting, the thrust of every antiproton weighed against the drag of sieving it from the void. Teleportation isn’t magic: the Icarus stream couldn’t send us the actual antimatter it made, only the quantum specs. Theseus had to filterfeed the raw material from space, one ion at a time. For long dark years she’d made do on pure inertia, hording every swallowed atom. Then a flip; ionizing lasers strafing the space ahead; a ramscoop thrown wide in a hard brake. The weight of a trillion trillion protons slowed her down and refilled her gut and flattened us all over again. Theseus had burned relentlessly until almost the moment of our resurrection.
It was easy enough to retrace those steps; our course was there in ConSensus for anyone to see. Exactly why the ship had blazed that trail was another matter. Doubtless it would all come out during the post-rez briefing. We were hardly the first vessel to travel under the cloak of sealed orders, and if there’d been a pressing need to know by now we’d have known by now. Still, I wondered who had locked out the Comm logs. Mission Control, maybe. Or Sarasti. Or Theseus herself, for that matter. It was easy to forget the Quantical AI at the heart of our ship. It stayed so discreetly in the background, nurtured and carried us and permeated our existence like an unobtrusive god; but like God, it never took your calls.
Sarasti was the official intermediary. When the ship did speak, it spoke to him—and Sarasti called it Captain.
So did we all.
He’d given us four hours to come back. It took more than three just to get me out of the crypt. By then my brain was at least firing on most of its synapses, although my body—still sucking fluids like a thirsty sponge—continued to ache with every movement. I swapped out drained electrolyte bags for fresh ones and headed aft.
Fifteen minutes to spin-up. Fifty to the post-resurrection briefing. Just enough time for those who preferred gravity-bound sleep to haul their personal effects into the drum and stake out their allotted 4.4 square meters of floor space.
Gravity—or any centripetal facsimile thereof—did not appeal to me. I set up my own tent in zero g and as far to stern as possible, nuzzling the forward wall of the starboard shuttle tube. The tent inflated like an abscess on Theseus’s spine, a little climate-controlled bubble of atmosphere in the dark cavernous vacuum beneath the ship’s carapace. My own effects were minimal; it took all of thirty seconds to stick them to the wall, and another thirty to program the tent’s environment.
Afterward I went for a hike. After five years, I needed the exercise.
Stern was closest, so I started there, at the shielding that separated payload from propulsion. A single sealed hatch blistered the aft bulkhead dead center. Behind it, a service tunnel wormed back through machinery best left untouched by Human hands. The fat superconducting torus of the ramscoop ring; the antennae fan behind it, unwound now into an indestructible soap bubble big enough to shroud a city, its face turned sunward to catch the faint quantum sparkle of the Icarus antimatter stream. More shielding behind that; then the telematter reactor, where raw hydrogen and refined information conjured fire three hundred times hotter than the sun’s. I knew the incantations, of course—antimatter cracking and deconstruction, the teleportation of quantum serial numbers—but it was still magic to me, how we’d come so far so fast. It would have been magic to anyone.
Except Sarasti, maybe.
Around me, the same magic worked at cooler temperatures and to less volatile ends: a small riot of chutes and dispensers crowded the bulkhead on all sides. A few of those openings would choke on my fist: one or two could swallow me whole. Theseus’s fabrication plant could build everything from cutlery to cockpits. Give it a big enough matter stockpile and it could have even built another Theseus, albeit in many small pieces and over a very long time. Some wondered if it could build another crew as well, although we’d all been assured that was impossible. Not even these machines had fine enough fingers to reconstruct a few trillion synapses in the space of a human skull. Not yet, anyway.
I believed it. They would never have shipped us out fully assembled if there’d been a cheaper alternative.
I faced forward. Putting the back of my head against that sealed hatch I could see almost to Theseus’s bow, an uninterrupted line of sight extending to a tiny dark bull’s-eye thirty meters ahead. It was like staring at a great textured target in shades of white and gray: concentric circles, hatches centered within bulkheads one behind another, perfectly aligned. Every one stood open, in nonchalant defiance of a previous generation’s safety codes. We could keep them closed if we wanted to, if it made us feel safer. That was all it would do, though; it wouldn’t improve our empirical odds one whit. In the event of trouble those hatches would slam shut long milliseconds before Human senses could even make sense of an alarm. They weren’t even computer-controlled. Theseus’s body parts had reflexes.
I pushed off against the stern plating—wincing at the tug and stretch of disused tendons—and coasted forward, leaving Fab behind. The shuttle-access hatches to Scylla and Charybdis briefly constricted my passage to either side. Past them the spine widened into a corrugated extensible cylinder two meters across and—at the moment—maybe fifteen long. A pair of ladders ran opposite each other along its length; raised portholes the size of manhole covers stippled the bulkhead to either side. Most of those just looked into the hold. A couple served as general-purpose airlocks, should anyone want to take a stroll beneath the carapace. One opened into my tent. Another, four meters farther forward, opened into Bates’s.
From a third, just short of the forward bulkhead, Jukka Sarasti climbed into view like a long white spider.
If he’d been Human I’d have known instantly what I saw there, I’d have smelled murderer all over his topology. And I wouldn’t have been able to even guess at the number of his victims, because his affect was so utterly without remorse. The killing of a hundred would leave no more stain on Sarasti’s surfaces than the swatting of an insect; guilt beaded and rolled off this creature like water on wax.
But Sarasti wasn’t Human. Sarasti was a whole different animal, and coming from him all those homicidal refractions meant nothing more than predator. He had the inclination, was born to it; whether he had ever acted on it was between him and Mission Control.
Maybe they cut you some slack, I didn’t say to him. Maybe it’s just a cost of doing business. You’re mission-critical, after all. For all I know you cut a deal. You’re so very smart, you know we wouldn’t have brought you back in the first place if we hadn’t needed you. From the day they cracked the vat you knew you had leverage.
Is that how it works, Jukka? You save the world, and the folks who hold your leash agree to look the other way?
As a child I’d read tales about jungle predators transfixing their prey with a stare. Only after I’d met Jukka Sarasti did I know how it felt. But he wasn’t looking at me now. He was focused on installing his own tent, and even if he had looked me in the eye there’d have been nothing to see but the dark wraparound visor he wore in deference to Human skittishness. He ignored me as I grabbed a nearby rung and squeezed past.
I could have sworn I smelled raw meat on his breath.
Into the drum (drums, technically; the BioMed hoop at the back spun on its own bearings). I flew through the center of a cylinder sixteen meters across. Theseus’s spinal nerves ran along its axis, the exposed plexii and piping bundled against the ladders on either side. Past them, Szpindel’s and James’s freshly erected tents rose from nooks on opposite sides of the world. Szpindel himself floated off my shoulder, still naked but for his gloves, and I could tell from the way his fingers moved that his favorite color was green. He anchored himself to one of three stairways to nowhere arrayed around the drum: steep narrow steps rising five vertical meters from the deck into empty air.
The next hatch gaped dead-center of the drum’s forward wall; pipes and conduits plunged into the bulkhead on each side. I grabbed a convenient rung to slow myself—biting down once more on the pain—and floated through.
T-junction. The spinal corridor continued forward, a smaller diverticulum branched off to an EVA cubby and the forward airlock. I stayed the course and found myself back in the crypt, mirror-bright and less than two meters deep. Empty pods gaped to the left; sealed ones huddled to the right. We were so irreplaceable we’d come with replacements. They slept on, oblivious. I’d met three of them back in training. Hopefully none of us would be getting reacquainted any time soon.
Only four pods to starboard, though. No backup for Sarasti.
Another hatchway. Smaller this time. I squeezed through into the bridge. Dim light there, a silent shifting mosaic of icons and alphanumerics iterating across dark glassy surfaces. Not so much bridge as cockpit, and a cramped one at that. I’d emerged between two acceleration couches, each surrounded by a horseshoe array of controls and readouts. Nobody expected to ever use this compartment. Theseus was perfectly capable of running herself, and if she wasn’t we were capable of running her from our inlays, and if we weren’t the odds were overwhelming that we were all dead anyway. Still, against that astronomically off-the-wall chance, this was where one or two intrepid survivors could pilot the ship home again after everything else had failed.
Between the footwells the engineers had crammed one last hatch and one last passageway: to the observation blister on Theseus’s prow. I hunched my shoulders (tendons cracked and complained) and pushed through—
—into darkness. Clamshell shielding covered the outside of the dome like a pair of eyelids squeezed tight. A single icon glowed softly from a touchpad to my left; faint stray light followed me through from the spine, brushed dim fingers across the concave enclosure. The dome resolved in faint shades of blue and gray as my eyes adjusted. A stale draft stirred the webbing floating from the rear bulkhead, mixed oil and machinery at the back of my throat. Buckles clicked faintly in the breeze like impoverished wind chimes.
I reached out and touched the crystal: the innermost layer of two, warm air piped through the gap between to cut the cold. Not completely, though. My fingertips chilled instantly.
Space out there.
Perhaps, en route to our original destination, Theseus had seen something that scared her clear out of the solar system. More likely she hadn’t been running away from anything but to something else, something that hadn’t been discovered until we’d already died and gone from Heaven. In which case . . .
I reached back and tapped the touchpad. I half-expected nothing to happen; Theseus’s windows could be as easily locked as her Comm logs. But the dome split instantly before me, a crack then a crescent then a wide-eyed lidless stare as the shielding slid smoothly back into the hull. My fingers clenched reflexively into a fistful of webbing. The sudden void stretched empty and unforgiving in all directions, and there was nothing to cling to but a metal disk barely four meters across.
Stars, everywhere. So many stars that I could not for the life of me understand how the sky could contain them all yet be so black. Stars, and—
—nothing else.
What did you expect? I chided myself. An alien mothership hanging off the starboard bow?
Well, why not? We were out here for something.
The others were, anyway. They’d be essential no matter where we’d ended up. But my own situation was a bit different, I realized. My usefulness degraded with distance.
And we were over half a light-year from home.
Copyright © 2006 by Peter Watts
Continues...
Excerpted from Blindsight by Watts, Peter Copyright ©2008 by Watts, Peter. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- Publisher : Tor Trade; First Edition (March 4, 2008)
- Language : English
- Paperback : 384 pages
- ISBN-10 : 0765319640
- ISBN-13 : 978-0765319647
- Item Weight : 11.2 ounces
- Dimensions : 5.5 x 0.96 x 8.25 inches
- Best Sellers Rank: #28,053 in Books (See Top 100 in Books)
- #272 in Contemporary Literature & Fiction
- #322 in Hard Science Fiction (Books)
- #1,283 in Science Fiction Adventures
- Customer Reviews:
About the author

This is awkward and a little creepy. They tell me I have to do it for promotional purposes, but I've already got a blog. I've already got a website. Being told that setting up an author page on fcuking *Amazon* is essential to success? A company that treats us all like such goddamn children it doesn't even allow us to correctly spell an epithet with a venerable history going back 900 years or more? That just sucks the one-eyed purple trouser eel.
Also the bio information above is fucked. For example, my work has only appeared in 36 BoY collections, not 350; the noms and awards info is out of date too, but apparently it was all written by some publishing house and I can't change it from this interface.
Still, here I am. But if you're really all that interested, go check out my actual blog/website. Google is not your friend (any more than Amazon is), but at least it'll point you in the right direction.
I'm the one on the left, by the way.
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on AmazonCustomers say
Customers find this speculative fiction novel engaging and filled with big ideas, praising its thought-provoking concepts about AI and consciousness. The book receives positive feedback for its scientific content, with one review highlighting its use of neuroscience, and customers describe it as profoundly original. While some find the writing well-written enough for everyone to enjoy, others find it difficult to read, and the character development receives mixed reviews with some finding the characters interesting while others say they're not well developed. The bleakness aspect is also mixed, with some appreciating the dark future setting while others find it harsh.
AI-generated from the text of customer reviews
Customers find the book's story engaging and thought-provoking, describing it as a hard sci-fi novel filled with big ideas and a masterpiece in plot.
"...What separates a dandelion from a human? The story is rich and complex without losing any entertainment value, even when delving deep into these..." Read more
"...plot twist and the science based mind, uh, screw, make it a very interesting novel, so I begrudingly upped the rating on this book...." Read more
"...Oh, and there's scifi vampires. I love it. It paints the idea of vampires in an utterly original right and asks, "What if the organism of..." Read more
"...I've had such a visceral reaction to it demonstrates that I was engaged in the story...." Read more
Customers find the book enjoyable and well worth seeking out, with one customer noting it's a great hard SF read.
"...The story is rich and complex without losing any entertainment value, even when delving deep into these subjects...." Read more
"...intellectual exploration of humanity versus non-humanity ... brilliant. Let me just say it blew my mind...." Read more
"...This is just such an excellent book. It oozes creativity and asks compelling questions which that make it a quintessential scifi contribution...." Read more
"...Complaints aside, this isn't a bad novel. It won prestigious awards. And Watts bleak worldview on humanity isn't lost on me...." Read more
Customers appreciate the book's thought-provoking ideas about consciousness and scientific approach to AI, with one customer highlighting its thoughtful exploration of these themes.
"...Within the book, intriguing issues of sentience and intelligence are brought up. What defines sentience or consciousness for that matter?..." Read more
"...On the one hand, I have to give it to the guy: he presents possibly the most scientific, believable accounting of how vampires could actually exist..." Read more
"...Watts is clearly an intelligent person, but, unfortunately, a mediocre writer." Read more
"...It is deeper than any book I read lately, on so many levels - scientific, psychological, and of course - the plot itself...." Read more
Customers appreciate the scientific content of the book, which delves into various scientific topics, with one customer highlighting its use of discoveries in neuroscience.
"...There's also a section titled Notes & References, covering vampirism, human sight, "telematter", sun types (the "superJovian") Scrambler anatomy..." Read more
"...I work in the medical field so the biology was easy for me, but the physics terms were a bit tricky...." Read more
"...The science is deep and from many disciplines and is integral to the plot, not just a showcase of how smart the author is...." Read more
"...lest it make you dizzy with its silliness, poor characters, and fake intellectualism...." Read more
Customers appreciate the book's creativity, finding it inventive and profoundly original, with one customer describing it as a masterpiece of contemporary science fiction.
"...I love it. It paints the idea of vampires in an utterly original right and asks, "What if the organism of folklore known as a vampire was actually..." Read more
"...Blindsight brought with it a host of interesting ideas, such as the relationship between sentience and intelligence...." Read more
"...overzealous explaining dumb ideas.. but generally it's interesting and unique and furthers the themes and makes for exciting reveals...." Read more
"It’s a book with some interesting (and fun) ideas, but the author absolutely loves to describe everything in fantastically obtuse ways...." Read more
Customers have mixed opinions about the writing quality of the book, with some finding it well written enough for everyone to enjoy, while others describe it as a difficult and user-unfriendly read.
"'Blindsight' is a hard sci-fi novel well written enough for everyone to enjoy...." Read more
"...Other times it's that the author uses so many metaphors, and at times, metaphors on top of story-specific metaphors, that it was like peeling apart..." Read more
"...and they can write fascinating books, such as Blindsight. Really awesome. Reccomended with all my heart." Read more
"...The plot? This was great. There were plenty of turns and interesting reveals, such as in the beginning when the linguist made a certain discovery..." Read more
Customers have mixed opinions about the character development in the book, with some finding them interesting and unique, while others criticize the poor character development.
"...Unique characters keep the mood while detailed descriptions set the atmosphere...." Read more
"...The third most egregious offense is the addition of the vampire character...." Read more
"...of the subjects this book dealt with - the "Chinese Room", multiple personalities, concienceness, sentience, and the levels of awareness and..." Read more
"The novel is not well-written, it doesn't flow, and the characters are not well developed, but the concepts explored are interesting and, maybe,..." Read more
Customers have mixed reactions to the bleakness of the book, with some finding it depressingly excellent while others describe it as harsh and dark.
"...It takes the ultimate nihilistic (and Lovecraftian) view of the futility of being human in this universe and builds an unforgettable sequence of..." Read more
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Top reviews from the United States
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- Reviewed in the United States on August 19, 2008'Blindsight' is a hard sci-fi novel well written enough for everyone to enjoy. Unique characters keep the mood while detailed descriptions set the atmosphere.
First let me introduce you to the eclectic cast:
Theseus - a ship with AI whose "body parts" (such as hatches) have reflexes. She's the Captain of the expedition.
Siri Keeton - Half of Siri's brain was removed when he was young, a dramatic cure for epilepsy that left him incapable of emotions such as empathy. Through observation, he can almost psychically predict the actions and thoughts of others. He's known as a Synthesist.
Isaac Szpindel - The crew's biologist, a mostly human looking cyborg
Susan James - The crew's linguist with surgically induced multiple personality disorder (known as The Gang, including Susan, Sascha, Michelle (Meesh) the Synesthete, and Cruncher)
Major Amanda Bates - The crew's "security", a professional soldier who's career defining moment involved consorting with the enemy. She shaves her head.
Jukka Sarasti - A sociopathic, genetically engineered vampire with the ability of conjoined intelligence with the Captain.
Robert Cunningham - Another biologist, also a cyborg, who doesn't use pronouns and chain smokes.
After an event called Firefall on Earth, when thousands of probes fell from the skies, Theseus was sent out into space to follow the trail back to the source of the probes. The crew comes out of "the crypt" where they have been kept inert and death-like for the trip, near Big Ben - a failed disc-shaped, black star. Orbiting Ben's chaotic field is an alien vessel unlike anything ever seen before. Then the ship makes contact, speaking their language and calling itself the Rorschach. Susan and "The Gang" communicate with Rorschach until, unbelievably, Susan cuts off communication, announcing that it's not a sentient presence they are speaking with. So what exactly is Theseus and the crew dealing with? Sarasti, working with the Captain, decides to send the crew over to the alien ship though from every aspect they have viewed it from, the Rorschach seems uninhabitable, uninviting, and possibly unfriendly. What they find, or what they don't find, will keep you reading right up to the very end. Between Scramblers, vampires, constructs, and AIs, the crew has their hands full.
The story is told in first person by Siri, and though it sometimes seems to slide to a different POV, its simply Siri using his talents as a Synthesist to project their thoughts through translating their speech and behavior. Believe it or not, Watts makes the concept work. There's even a first person glimpse from Theseus's POV. Siri also uses flashbacks to his relationship with his ex-girlfriend Chelsea to give us deep glimpses into who and what he has become after his childhood surgery.
Within the book, intriguing issues of sentience and intelligence are brought up. What defines sentience or consciousness for that matter? Free thought? Self-awareness? Speech? Higher brain? Brain stem? Reproduction? What separates a dandelion from a human? The story is rich and complex without losing any entertainment value, even when delving deep into these subjects.
The book is 362 pages, with acknowledgments following. There's also a section titled Notes & References, covering vampirism, human sight, "telematter", sun types (the "superJovian") Scrambler anatomy and physiology, Sentience/Intelligence, and misc notes. This section includes bibliography footnotes.
I think it would be fantastic if they made a movie from this book. I highly recommend it, whether you're a fan of hard sci-fi or not. Enjoy!
- Reviewed in the United States on February 13, 2015I really want to give this books 3.5 stars ... it's got a lot of short-comings, but maybe not all of those are entirely objective. And in the end, the plot twist and the science based mind, uh, screw, make it a very interesting novel, so I begrudingly upped the rating on this book.
First, the bad: this is one of the densest, hardest to like books I've read in quite some time. The author seems to delight in needlessly upping the reading level on this book ... for example, there was a word I can't remember, and I've never seen before, that basically means "to give birth". Given how obscure and/or specialized this word must be (my Kindle tagged it as "ZOOLOGY"), I can only imagine the author must have had a Thesaurus at hand during the writing of this book. And some of the scenes get especially muddled with uncommon or rarely used jargon-ish words, so much so that at times it took me a minute or two to read through one paragraph due to having to look up a word in each sentence. There are times when, yes, a very technical or obscure term was warranted; there is, afterall, a lot of bleeding edge science talk in this book. At other times, when merely commenting on general events, the use of these words borders on pretentious.
Second, editing is the next worst thing about this book. At times, the scene descriptions are aggravatingly obtuse. I found myself having to re-read ... and in some cases, re-re-read, events to understand what actually happened. Sometimes it's just a case of not enough detail. Other times it's that the author uses so many metaphors, and at times, metaphors on top of story-specific metaphors, that it was like peeling apart an onion and ... oh God, I just made a meta-review or something. Anyway, the author's style in this sense is on and off ... at times it's atrocious, and at others, it's just clever and creative.
Final negative aspect: this is a space sci-fi book, but the author somehow found it necessary to re-invent the concept of the vampire. Yes, THOSE vampires. On the one hand, I have to give it to the guy: he presents possibly the most scientific, believable accounting of how vampires could actually exist I've ever read, bar none. He even explains why Crucifixes (or specifically, sets of intersecting lines) would be problematic for them. But on the other hand ... why? Why was this necessary? We know of lots of real-world animals with genes or biological tricks that allow them to survive near-lethal environments, or go into an "undead" state to conserve resources (the original reason for vampires as something to do with making people survive long treks through space, rather than doing the cliched cyrogenic thing). In fact, the author even expounds upon this at the back of the book, relenting that he kind of did the vampire thing just to be original. Well, it was original ... but also very non sequitor.
But the thing that brought the whole story back around for me was the mystery and horror of the alien artifact in this story. Let me put it this way: if you've read Michael Crichton's "Sphere", it's a lot like that, but amped up and thrown into space. The plot twist surrounding the nature of the artifact is brilliant, and really I can't say much more without potentional spoilers, but the resulting intellectual exploration of humanity versus non-humanity ... brilliant. Let me just say it blew my mind. I can forgive the rest of the book's shortcomings just based upon the last third of this book.
It's hard to get into ... like, really hard. The author doesn't make it a very approachable book, and part of that is needlessly throwing around high-concepts of a sci-fi future without providing a whole lot of needed context (if you have to provide a half-dozen explanations at the back of your book, chances are you were a little too dense with your concept presentation). However, I would urge you to push past the first few chapters ... or 10 ... of the book. If you can keep track of a lot of jargon, ignore some vague descriptions, and stick with it, this book is pretty good.
Top reviews from other countries
DhirayReviewed in India on August 8, 20213.0 out of 5 stars Too much complicated
Too much complicated and repeatative. Dont like much
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Hans-Joachim MetzgerReviewed in Germany on June 15, 20135.0 out of 5 stars Der Fluch des Bewusstseins
Unbedingt lesen! Das gehört zum Anspruchsvollsten und Besten, was man an Science Fiction zurzeit lesen kann.
Nach diesem Buch, möchte man meinen, kann in dem Genre nichts mehr so sein wie es vorher war.
Zumindest in jener Art Science Fiction nicht, in der es um die Begegnung mit ausserirdischen, intelligenten, fühlenden Lebensformen geht.
Denn dieser Science Fiction hat sich im Grunde immer schon nur ein einziges Problem gestellt: Wie kann man etwas beschreiben, das uns, unseren Sinnen, unserem Denken und Fühlen vollkommen fremd ist? Und vollkommen fremd heisst ja nichts anderes als dass wir uns sein Wesen nicht vorstellen, seine Motive, seine Logik nicht verstehen können - so es denn, und das ist selbst bereits eine eigentlich nicht haltbare Voraussetzung, einen sinnlich erfahrbaren (dreidimensionalen) Körper hat und über ein Analogon dessen verfügt, was wir Fühlen und Denken nennen und als Ursachen des Handelns zuzuschreiben pflegen. Und wenn das Andere, Fremde keinen unseren Sinnen zugänglichen Körper hat, kein Aussen, in dessen Inneren sich, neben dem Stoffwechsel mit dem Aussen, ein Prozessieren des mit Organen aussen Wahrgenommenen stattfindet, das wiederum zu einer Einwirkung auf das Aussen führt; wenn diese Andere, Fremde nicht mit einem gleichartigen anderen Anderen, Fremden kommuniziert oder wir dieses Kommunizieren nicht festzustellen vermögen, wie erst sollten wir dann imstande sein, selbst mit ihm zu kommunizieren?
Geben wir's zu: Wohl wissend, dass all das eigentlich nicht klappt, dass man also das wirklich Fremde gar nicht beschreiben kann, haben wir uns immer mit einer im Grunde anheimelnden zweitbesten Version von Aliens zufrieden gegeben, ganz gleich ob es sich dabei um einen Schleim, die Ausserirdischen in 'Star Trek', an denen nur die im Laufe der Staffeln immer besser werdende Maske ihres Kopfes ausserirdisch war, das ozeanische Wesen aus Lems 'Solaris' oder das Alien aus 'Alien' gehandelt hat.
All diese Aliens, selbst wenn man uns nur einen Fetzen davon präsentiert hat, waren stets vorstellbar.
Das, womit es die Protagonisten in Peter Watts' verstörendem Buch zu tun bekommen, ist es nicht mehr.
Diese Aliens sind da, das schon, aber nicht für uns, denn sie sind imstande, Eigenschaften der neurophysiologischen Beschaffenheit des Menschen so auszunutzen, dass wir sie nicht wahrnehmen können.
Und der grossen, blauäugigen Hoffnung all jener, die nie daran gezweifelt haben, dass man eigentlich sogar noch mit Fieslingen wie solchen aus 'Mars Attacks', erst recht aber mit überlegenen und gewiss friedfertigen Intelligenzen wird kommunizieren können, sei die Entzifferung der Alien-Sprache auch noch so schwierig, dieser Hoffnung wird in diesem Buch eine Enttäuschung bereitet, wie sie radikaler nicht sein kann: Es ist bereits die blosse Tatsache, dass Menschen kommunizieren, indem sie Signale aussenden, die diese Aliens als Aggression auffassen. Da hilft es auch nicht, die weisse Fahne hinauszuhängen oder zu beteuern, dass man keine bösen Absichten hegt. Das Kommunizieren selbst ist schon ein feindseliger Akt.
Woraus umgekehrt die Ungeheuerlichkeit folgt, dass mit einem anderen intelligenten Wesen zu kommunizieren heisst, ihm so lange Schmerzen zuzufügen, bis man das Sprechen vom Schreien unterscheiden kann.
Es war an der Zeit, dass ein derart kompromissloses Buch geschrieben wurde und uns ein für allemal die Gemütlichkeit vergällt, mit der wir die wohligen Schauer der unechten Schrecken genossen haben, die uns die Feld-Wald-und-Wiesen-Aliens aller bisherigen Science Fiction einjagten.
Denn die Science dieser bisherigen Science Fiction war eben selbst eine beschränkte: Meist Physik, meinetwegen auch Astrophysik und Astronomie, mit einer Prise Chemie und in neueren Zeiten auch Biologie, dazu, spätestens seit William Gibson, auch Kybernetik.
Was bei all dem ausgespart wurde, war die, genau genommen, unendlich viel komplexere Wissenschaft von uns selbst.
Mit 'Blindsight' von Peter Watts trägt Science Fiction endlich zumindest dem Konstruktivismus und der Neurowissenschaft Rechnung.
Deshalb auch ist sein Buch eigentlich eine in einen Roman verpackte Abhandlung über das menschliche Bewusstsein und die Frage, ob dieses denn als Errungenschaft der Evolution zu begreifen sei oder nicht vielmehr als schwerer Ballast gelten müsse, dessen sich zu entledigen nur Selektionsvorteile bringen würde - jedenfalls wenn unsere Spezies solchen Aliens begegnen würde, wie sie dieses Buch trotz aller Unbeschreiblichkeit natürlich doch, irgendwie, beschreibt.
Diese Aliens nämlich, obzwar unzweifelhaft intelligent, haben keines: Kein Bewusstsein! Und das macht sie, in diesem Buch, den Menschen so unendlich überlegen.
Und gibt eben die Frage auf, ob es Intelligenz ohne Bewusstsein geben kann. Und wenn es schon Bewusstsein gibt, was dann sein Zweck wäre, da es doch augenscheinlich unser grösstes Manko zu sein scheint.
Watts hat dazu allerlei Einschlägiges gelesen und dem Buch einen vorzüglichen Anhang beigegeben, eine Art bisweilen schnoddrig kommentierter Bibliographie, die den Stand der Debatte zum Zeitpunkt des Erscheinens der Originalausgabe wiedergibt.
Gespickt mit allem, was schick und exzentrisch ist in Neurophysiologie, Philosophie aber auch sonst der Science Fiction teuren Wissenschaften, ist 'Blindsight' alles andere als leicht zu lesen.
Weil es in mancher Hinsicht eher ein Traktat denn eine Narration ist, ist die Stärke des Buches auch eine seiner Schwächen: Wer auf Spannung aus ist, die es hier auch gibt, und nicht zu knapp, bleibt trotzdem über lange Strecken ziemlich hungrig, weil er mit Diskursen, Gesprächen und inneren Monologen regaliert wird, die absolut zum Thema gehören, aber nicht unbedingt die Action vorantreiben.
Obwohl die Provokation der Begegnung mit einer bewusstlosen ausserirdischen Intelligenz, die der Menschheit eben deshalb überlegen ist, weil diese durch das Bewusstein ausgebremst wird, kaum zu toppen ist, überfrachtet Watts seine Erzählung mit dem einen oder anderen Einfall, auf den er für meinen Geschmack gut hätte verzichten können: So ist mir nie wirklich aufgegangen, wieso es sich bei dem Kommandanten des Raumschiffes, das wir auf der Reise zu den Aliens begleiten, um einen Vampir handeln muss. Gewiss, der erwähnte Anhang des Buches bietet, augenzwinkernd, eine kurze Einführung in die Grundlagen der Vampirbiologie, der man entnehmen kann, dass die einst ausgestorbenen Blutsauger deshalb zurückgeclont wurden, weil auch sie in Hör- und Sehvermögen sowie überhaupt zerebral dem Homo sapiens haushoch überlegen waren. Doch für die Beweisführung von 'Blindsight' ist dieses Exemplar des Homo vampiris im Grunde ebenso entbehrlich wie die Tatsache, dass es sich bei dem Ich-Erzähler um einen so genannten Snythesisten handelt, den man, weil er als Junge an einer viralen Epilepsie erkrankte, mit einer radikalen Hemispherektomie behandelt, ihm also die Hälfte des Gehirns herausoperiert und durch Computer ersetzt hat, was ihn einerseits zu einer Art Beziehungskrüppel macht, andererseits aber, als lebendiges "Chinesisches Zimmer", in den Stand versetzt, Personen aus der Distanz heraus und ohne einen Funken von Verstehen zu beobachten, indem er / es aus ihrer "Topologie" mittels Algorithmen auf ihre wahren Motive schliesst. Man sieht, das Problem des Bewusstseins und die Vorteile seiner Umgehung hat Watts in 'Blindsight' gleich mehrfach behandelt und damit vielleicht ein wenig zu viel des Guten getan. Dabei fallen gleichwohl interessante Nebenstränge des "Zukunftsromans" ab. So die natürlich schief gehende Beziehung des Beziehungskrüppels zu einer "Neuroästhetikerin", einer Art Psychotherapeutin, die Pathologisches noch mit völlig aus der Mode gekommenen nicht-invasiven Mitteln behandelt. Mit ihr hat der als Kind ultra-invasiv Behandelte zum erstenmal "first person-", will sagen "echten" Geschlechtsverkehr, denn für gewöhnlich – wir befinden uns in den 80er Jahren dieses Jahrhunderts – ist nur mehr virtueller Sex angesagt, bei dem nicht mehr auf etwaige Wünsche der Partnerin oder des Partners Rücksicht genommen werden muss, es nicht mehr der Körper der oder des anderen ist, der genossen wird, und der vor allem ohne Mischung von Körpersäften abgeht. Das hätte eigentlich Stoff für eine kürzere Prosaform abgegeben, wie sie Watts, teils mit tödlichem Ernst – man vergleiche seine von seiner Website herunterladbare Sammlung 'Back to the Island and Other Stories' – ja auch beherrscht.
Natürlich kann man gegen das Ganze einwenden, es sei nicht unbedingt ein neuer Hut.
Tatsächlich gibt es ja eine zivilisationsmüde, sich gern auf die Evolutionstheorie berufende Strömung, die findet, wenn der Mensch nicht mit einem Bewusstsein geschlagen wäre, wäre doch vieles viel einfacher: Statt unseren Cortex mit Fragen wie den berühmten drei kantischen danach, was ich wissen kann, was ich tun soll und was ich hoffen darf, zu überfordern, würden wir in glücklicher Fraglosigkeit unseres Reptilienhirns schwelgen, das wir mit allen Wirbeltieren teilen und das sich dadurch auszeichnet, dass es stets und ausschliesslich dem Imperativ der Evolution: Überlebe!!!! gehorcht, also alle Antworten immer schon kennt. Dann hätte man es zum Beispiel endlich nicht mehr mit diesen Phantomproblemen von Gut und Böse, Schuld und Sühne zu tun. Man könnte sich ganz ungehemmt die Köpfe einschlagen. Man wäre ganz Kreatur. Wäre nicht dazu verurteilt, dauernd... denken zu müssen. Hätte keine Wünsche. Es gäbe keine Religion. Es gäbe keine Philosophie. Keine Kunst. Keine Literatur. Keine Sprache. Kurz, keine Kultur und folglich kein Unbehagen in der Kultur. Vor allem nämlich gäbe es kein Unbewusstes, denn ohne Bewusstsein wäre alles je schon unbewusst.
In der Tat, an sich nicht unbedingt ein neuer Hut. An sich! In der Science Fiction aber schon. Das, worum es ihr ging, war, bis jetzt, immer da draussen. Im "Space" oder "Cyberspace". Jetzt ist es hier drinnen. Oder genauer: Science Fiction hat begonnen, sich damit auseinanderzusetzen, wie das, was da draussen ist, von dem bedingt wird, was hier drinnen ist.
Es ist das Verdienst von Peter Watts, Science Fiction damit wieder auf ein Niveau gehoben zu haben, auf dem Texte des Genres zu lesen nicht allein Spass macht, sondern auch etwas zu denken gibt.
Zum Schluss ein paar - für das Buch nicht massgebliche - Worte zur Übersetzung: Dies, wie gesagt, ist kein leicht zu lesendes Buch. Und es ist erst recht kein Buch, das leicht zu übersetzen war. Ich habe, weil mich sehr interessierte, wie diese Aufgabe gemeistert wurde, unmittelbar nach dem Original auch noch die unter dem Titel 'Blindflug' erschienene deutsche Übersetzung gelesen. Diese Übersetzung ist preisgekrönt. Und sie ist zweifellos gut lesbar - was bei dem Stoff einiges heissen will.
Trotzdem bin ich nicht ganz überzeugt. Der eher subjektive Grund: Der deutsche Text hat (sich) mir nicht mehr erschlossen als der englische. Im Gegenteil, ich fand ihn passagenweise opak. Der englische kam mir, trotz mancher fachterminologischer Sperrigkeit, leichtgängiger vor, vielleicht weil er zugleich immer auch eine Umgangssprachlichkeit wahrt, die im Deutschen nicht immer getroffen wurde.
Objektive Gründe für einen gewissen Vorbehalt liegen im Erstaunen über einige eklatante Missgriffe: So gibt die Übersetzerin das recht oft vorkommende englische "static" durchgängig mit "Statik" wieder. Gemeint ist stets so etwas wie ein Rauschen - etwa wenn etwas auf einem Bildschirm nicht deutlich erscheint, weil das Signal gestört oder nicht stark genug ist, um sich gegen den Hintergrund abzusetzen. Hin und wieder geht es auch um ein Störgeräusch, das etwas anderes überlagert. Mit Statik indessen hat das nicht das Geringste zu tun. Muss man dergleichen als eklatanten Fehler verbuchen, fallen an anderer Stelle unglückliche Übersetzungen auf. So wird das englische Wort "spike" durchgängig mit "Messspitze" wiedergegeben. In der Tat geht es um etwas, das – wie zum Beispiel ein sich veränderndes Magnetfeld – auf der Skala eines Messinstruments so etwas wie einen "Ausschlag" produziert. Der Akzent liegt aber nicht auf der Messung, sondern auf dem, was da gemessen wird: Eine Spannungsspitze, ein Spannungsanstieg, die plötzliche Zunahme einer Feldstärke. Leider wackelt die Übersetzung da und dort nicht nur im Hinblick auf Terminologien. Die Mutter des Ich-Erzählers befindet sich an einem Ort, den der Text als "Heaven", "Himmel", apostrophiert, womit eine Art virtuelles Refugium gemeint ist, in das sich, unter Aufgabe ihrer Körperlichkeit, immer mehr Menschen zurückziehen. Die Einwohner - oder das, was von ihnen als virtuelle Existenz bleibt - können in diesem "Himmel" besucht oder auch aus der Ferne kontaktiert werden. Eben dies tut der Ich-Erzähler, als er sich vor dem Start des Raumschiffes von seiner Mutter verabschieden will. In der Übersetzung liest man: "Meine neuen Inlays - eigens für die Mission angefertigt und erst vor einer Woche in meinen Kopf implantiert - klinkten sich in die Noosphäre ein und klopften am Perlentor an." Und dies steht im englischen Original: "My new inlays—mission-specific, slid into my head just the week before—shook hands with the noosphere and knocked upon the Pearly Gates." Warum um alles in der Welt lässt die Übersetzerin hier und überall sonst "Inlay" stehen, wofür sich doch (auch wenn der Autor nicht das englische Wort "implant" verwendet) eine Wiedergabe durch "Implantat" mehr als aufdrängt? Weil sie "slid" durch "implantiert" übersetzt hat? Die Implantate hätten doch, wie in den Steckplatz einer Computerplatine, die der Ich-Erzähler ja in der Tat im Kopf hat, "eingesteckt" oder "eingeschoben" worden sein können. Und wo klopften dann die Implantate an? Am "Perlentor"? Das ist nun nicht nur entweder völlig unverständlich oder unfreiwillig komisch, sondern in dem Kontext eine wirkliche Entgleisung. "Pearly Gates" heisst schlicht und einfach "Himmelstor" oder "-pforte". Und "Himmelstor" ist hier, wo es um den "Himmel" geht, auch die einzige Übersetzung, die passt. Ja, der englische Ausdruck geht auf die Beschreibung des "Neuen Jerusalem" im 'Buch der Offenbarung' zurück, wo es heisst, dass die zwölf Stadttore zwölf Perlen gewesen seien, jedes aus einer einzigen Perle gemacht. Aber es gibt nicht den geringsten Grund, in der Übersetzung der zitierten Stelle aus 'Blindsight' daran zu erinnern.
Gleichwohl hat die Übersetzerin alles in allem einen guten Job gemacht, und es besteht kein Anlass, wegen der einen oder anderen nicht ganz so gelungenen Wortwahl (deren Kritik stets mehr Raum beansprucht als ihr eigentlich gebührt) über dem Buch von Peter Watts den Daumen zu senken.
Auf Deutsch ist es ohnedies zurzeit (Juni 2013) nur antiquarisch erhältlich. Wer kann, das wäre mein Rat, sollte es auf Englisch lesen.
Denn lesenswert, wie gesagt, ist es unbedingt.
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FeydRauthaReviewed in France on January 16, 20175.0 out of 5 stars Brillant roman de Hard-SF
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Un roman de Science Fiction
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Blindsight est un roman de hard SF spatiale écrit par Peter Watts en 2006 et nominé pour les Hugo. Il s’adresse essentiellement à des lecteurs férus de science, et certainement habitués à lire de la SF. Sous les apparences d'un roman de science-fiction, se cache en fait un essai sur la conscience. Ce questionnement constitue le cœur du livre. Mais Blindsight n'en reste pas moins un roman de science-fiction. À ce titre, il repose sur un scénario simple mais rythmé, des séquences d'action souvent explosives et des retournements de situation qui emmènent inévitablement l'équipage du Theseus de Charybde en Scylla. C'est un roman sombre.
Que ce soit au niveau des technologies, du transhumanisme (thème cher à la hard-SF), de la conception des formes de vies possibles, etc... C’est un roman extrêmement imaginatif. Lovecraft avait écrit que l'imaginaire croit comme la surface d'une sphère dont le rayon est la connaissance scientifique. Blindsight un roman de hard-SF qui démontre que l'imaginaire, lorsqu'il s'appuie sur les sciences établies, est vaste. L'univers réel est bien plus créatif et diversifié que ce que l'homme seul n'arrive à concevoir.
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Une réflexion sur la conscience
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Le philosophe américain Thomas Nagel a écrit en 1974 un article resté célèbre, intitulé "What is it like to be a bat" (Quel effet cela fait-il d'être une chauve-souris ?). Brièvement, l'article propose une expérience de pensée pour arguer que l'expérience de la conscience ne peut se faire que par l'expérience subjective du monde.
Dans Blindsight, Peter Watts propose une autre expérience de pensée, sous la forme d'un roman de science-fiction, pour explorer la sentience, la conscience, l'intelligence et questionner leurs développements conjoints. Pour se faire, il convoque à un premier contact avec une existence extra-terrestre tout un "freak show".
Tout commence en 2082, lorsque quelques milliers d'objets artificiels d'origine inconnue quadrille l'atmosphère terrestre et s'y brûle aussi rapidement qu'ils sont apparus en émettant un signal sur une large portion du spectre électromagnétique. Quelques années plus tard le vaisseau habité Theseus est envoyé pour poursuivre une mystérieuse émission radio émise depuis une comète vers une destination inconnue. L'équipage du Theseus est composé d'un panel de transhumains artificiellement modifiés.
- la narrateur est Siri Keeton. Suite à une opération chirurgicale subie dans l'enfance, Keeton est amputé de la partie du cerveau permettant l'empathie et toute forme d'expériences de vécu émotionnel. Avec quelques apports cybernétiques, cela fait de lui un "synthesist", ou une personne capable d'analyser objectivement les comportements de l'équipage et les situations rencontrées, et d'en faire le rapport vers la Terre. À travers Keeton, Peter Watts explore donc l'opinion des réductionnistes dans le débat sur la conscience : celle qui avance qu'on peut réduire l'expérience consciente à une succession de processus physiques et biologiques.
- Le gang est la réunion schizophrénique de plusieurs personnalités distinctes dans le corps et l'esprit de Susan James, appelée par le gang "Mom". Il y a Susan, Michelle, Sasha et Cruncher. Le gang est en charge de l'aspect linguistique de la mission du Theseus. Le gang permet à Watts de compliquer l'expérience de pensée en questionnant l'expérience subjective du monde lorsqu'elle est vécue simultanément par plusieurs consciences.
- Isaac Szpindel est le biologiste du groupe. Personnage amoureusement impliqué avec l'un des membres du gang, il représente le côté émotionnel des expériences vécues lors de la rencontre avec Rorschach, l'entité extraterrestre pourchassée par le Theseus. Son backup, Robert Cunnigham possède un profil très différent. Modifié pour pouvoir voir les choses en dehors de son corps, il représente en quelque sorte la conscience désincarnée. C'est lui qui va remettre en cause le niveau d'intelligence et de conscience de Rorschach, et tout ce qu'on entend habituellement par là. Il va aussi questionner la conscience de Keeton.
- Amanda Bates et la composante militaire de l'équipage. Elle contrôle (ou plutôt tient en laisse) tout une armée de robots guerriers. Bates est une personnalité qui pense en dehors des clous, est n'est jamais dans la position où on pourrait l'attendre de la part d'une militaire. Elle est la seule qui fait des choix moraux.
- Jukka Sarasti, commandant du Theseus. Un livre complet pourrait être écrit sur Sarasti. Il s'agit d'un vampire, génétiquement ressuscité et restreint dans ses pulsions (afin qu'il ne dévore pas tout l'équipage). Sarasti est le prédateur ultime. L'évolution de son espèce l'a doté d'une forme d'intelligence et d'un mode de pensée inaccessibles à l'humain. Il est l'exact opposé de Keeton. Sous ses dehors froids, il perçoit, ressent, et ne conçoit la conscience que par l'expérience radicalement subjective des choses, jusque dans la chair. Il est chez Watts l'équivalent de la chauve-souris dans l'article de Thomas Nigel, celle dont on ne peut saisir l'expérience de conscience.
- Un dernier personnage intervient dans l'histoire : Rorschach, l'entité extraterrestre, que Peter Watts utilise pour faire une distinction radicale entre intelligence et conscience.
D'autres personnages secondaires (la mère de Keeton, sa petite amie, son père) interviendront pour étayer les démonstrations de Watts à travers le roman. C'est à travers ce panel artificiel de personnages fabriqués comme des monstres, amputés, modifiés, trafiqués, que Peter Watts propose son expérience de pensée. Chaque personnage est le paradigme d'une position philosophique dans le débat, ce qui rend le discours de Watts très inventif et très riche.
Et il y a tant d'autres choses encore dans ce livre, notamment sur la notion de "vision aveugle", ou sur les différents syndromes qui peuvent affecter la conscience de soi ou du monde, qu'il faudrait un livre pour en parler !
marek baderReviewed in Australia on June 12, 20225.0 out of 5 stars Complex narrative to prelude the more interesting tale to follow.
I enjoyed the complicated rhythm of the story as it plants a stealth seed into the base of the cerebral cortex that indicates a preview into a far more interesting and ambiguous world of Vampires. That is not to say that this book was not wonderful in its fractured frenzy of perspectives but I found myself drawn back to the Vampire chum thrown into the water more than once. This book was written to setup the next in such a beautiful suckerpunch that left me truly blind sided.
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Jacz SilvaReviewed in Brazil on February 19, 20205.0 out of 5 stars Entrega garantida
Produto chegou antes do prazo, perfeito!





