This whole fake news phenomenon is hugely important and historically significant. At the moment I’m completely captivated by the strength of an analogy between the Gutenberg era and the internet era, this rhythmic force coming out of the connection between them. Radical reality destruction went on with the emergence of [the] printing press. In Europe this self-propelling process began, and the consensus system of reality description, the attribution of authorities, criteria for any kind of philosophical or ontological statements, were all thrown into chaos. Massive processes of disorder followed that were eventually kind of settled in this new framework, which had to acknowledge a greater degree of pluralism than had previously existed. I think we’re in the same kind of early stage of a process of absolute shattering ontological chaos that has come from the fact that the epistemological authorities have been blasted apart by the internet. Whether it’s the university system, the media, financial authorities, the publishing industry, all the basic gatekeepers and crediting agencies and systems that have maintained the epistemological hierarchies of the modern world are just coming to pieces at a speed that no one had imagined was possible. The near-term, near-future consequences are bound to be messy and unpredictable and perhaps inevitably horrible in various ways. It is a threshold phenomenon. The notion that there is a return to the previous regime of ontological stabilization seems utterly deluded. There’s an escape that’s strictly analogous to the way in which modernity escaped the ancien régime.
My tendency is not to draw a huge distinction between [scientists and artists]. In all cases one’s dealing with the formulation or floatation of certain hypothesis. I am assuming that every scientist has an implicit science fiction. We all have a default of what we think the world is going to be in five years time, even if it’s blurry or not very explicit. If we haven’t tried to do science fiction, it probably means we have a damagingly conservative, inert, unrealistic implicit future scenario. In most cases a scientist is just a bad science fiction writer and an artist, hopefully, is a better one. There is, obviously, a lot of nonlinear dynamism, in that science fiction writers learned masses from scientists, how to hone their scenarios better, and also the other way around. Science fiction has shaped the sense of the future so much that everyone has that as background noise. The best version of the near future you have has been adopted from some science fiction writer. It has to be that science is to some extent guided by this. Science fiction provides its testing ground.