… those tech creators and tech billionaires who are influenced by Science Fiction seem to assume that because things in Science Fiction work in the society and culture of those created future-set universes, there is an expectation bias that they will work in our real life and present, without much testing or oversight.
Gadgets, services, and technologies work in Science Fiction because it is fiction. They work because it is a narrative, and as such, their authors or filmmakers showed them working. They work because in fiction, it is very easy to make things work, because they aren’t real and don’t need to actually work.
Realizing the unreal from fiction will not make that realization work in the same way in real life. It can’t. The context, timeframe, and people are different. Most importantly, Science Fiction is fiction.
Astonishing, really, that this even needs to be said — though it clearly does need to be said.
However, the author’s relentless capping of Science Fiction betrays what is likely the same superficial engagement with the genre demonstrated by those they are criticising: there’s plenty of science fiction in which the tech doesn’t work, and indeed which is totally about the tech not working, or working in ways orthogonal to its maker’s and user’s original (or at least originally stated) intentions; it’s also hard to square this piece with the effectively mainstreamed (but nonetheless totally wrongheaded) punditry to the effect that science fiction has gone too far in the tech-negative dystopian direction. But hey, when your research needs publicising and a venue has an obvious hook for your pitch, well, we’ve all been there, amirite?
That said, the author’s call for companies to hire social scientists to deal with these sorts of issues is something I’d support — though yer man Damien Williams makes the case far more effectively (not to mention eloquently). Meanwhile, re: science fiction, the distinction between the technological utopian mode and the critical utopian mode was old theory when I picked it up back in 2014, but it’s as relevant as ever. If people are going to turn to narrative forms as spaces of inspiration and reflection — and they clearly are, and clearly always have done — then we might as well use critical narrative form to counter the uncritical stuff, no?