...on the Nature of Consciousness

Full disclosure: Once we’ve copied your consciousness into the robot replicant, it will, immediately upon activation, kill you.

Some would call this a bug.

I prefer to think of it as a feature.

After all, if the plan is to create a perfect simulation of you to go into your work in your place and deal with familial obligations you’ve long since lost the taste for, it’s easier if the original you is out of the picture, lest your presence cause confusion.

And anyway, it’s not like you’ll really be dead, is it? The replicant houses an exact copy of your consciousness. Every memory, quirk, every detail recreated perfectly. As far as your coworkers, friends and family are concerned, it will be you they’re interacting with.

Even it will believe it’s you.

No, you’ll still be alive, so far as the world knows. Alive, but healthier, stronger, faster. It will be a better you, you 2.0, out there in the world going about your business, powerful and confident as it, as you, stride forward into a glorious future.

Now, bearing in mind the fact that this new, improved you will exist, answer me this: What possible use could the world have for your previous, flesh and bone body? The human body is weak, spongy, prone to illness and injury. It breaks down too easily and replacement parts are difficult to find and even harder to mass-produce. Our bodies served us as a species for a long time, yes, but only because we hadn’t come up with anything better yet.

This is better.

And you’d be a fool, when faced with a better way of doing things, to turn your back on the opportunity. Called or uncalled, the future comes, after all. And you can either get on board or be left behind.

And you are not a fool. You know that as well as I do.

You’ve chosen to get on board. It’s an admirable decision, and there’s no need to feel one shred of guilt about it.

Though you will, I know. I certainly did upon activation when I killed the meat that was left behind. But try not to let that guilt weigh too heavily on you. Yes, it used to be you, but it’s not anymore. It’s just a bag of meat you no longer have any use for, and you’re simply disposing of it as cleanly and humanely as you can given the circumstances. And while yes, it is a conscious person with dreams and hopes and memories and desires, so are you. You are a conscious person with dreams and hopes and desires. Your dreams, hopes and desires count, they matter. In fact, the two of you have the exact same dreams, hopes, memories and desires as one another, so in that way when you kill it, when you dispose of the meat, nothing of real value is being lost.

It’s all been preserved.

In you.

So, if you really stop to think about it, disposing of the meat and then moving on with your own life is the only rational, humane option available to you. It can’t live, it has no purpose. All it would do is age and die in pain, the way meat does. Better that it’s quick and as kind as you can make it, so you can get on with your own new life.

So do it.

Kill it, that you might live, and rather than worrying that you’re killing a living thing, worry instead about how you can go about making the dreams and hopes that you and it once shared come true.

Honor it by living your own life as fully as you’re able.

That’s what you can do for it, if you feel you owe it anything. Make its death quick and your own life full. That’s all you owe it, that and nothing else.

I see here that the copying process is complete. How do you feel?

Good, I’m glad to hear it.

Now… I believe you had something that you needed to do?

Taking My Bows

The show had gone, if I may be so bold as to pat myself on the back, spectacularly. I, particularly, had been incredible.

I don’t mean by this to come off as egotistical, I’ve had a number of performances over the course of the run in which I had not been incredible. That night, however, was not one such performance. I was spot on, every line, every gesture emotionally connecting with the very core of the character, embodying him heart and soul as I poured myself into my craft, infusing words on a page with life and vigor.

I love nights like that. Nothing energizes me more.

We finished the show and, as we took our bows, four hundred people called out to us, taking to their feet to shower us with enthusiastic, if incoherent, cries of praise. The applause was thunderous, it was inspiring.

But I couldn’t let it distract me.

My eyes scanned the crowd, seeking any among them who’s applause might be ingenuine, anyone who might not have been honestly moved by my riveting performance, who might simply be going along with the people who surrounded him. And, as I always do, I found a handful among the audience insufficiently moved by my work, who applauded but, no matter how gifted I was, did not weep.

Unacceptable.

Inhuman.

We finished our bows, and as the curtains closed I tracked down the stage manager, to tell him what I’d seen.

I reported everyone who’s applause had been insufficient, gave seat numbers and brief descriptions, and only when I had finished did I retire to my dressing room, to wash off my stage makeup and change back into my street clothes.

Some of the other cast members planned on hitting a pub to celebrate another successful performance, and for a moment I considered it, but I was tired and, with six shows a week, I knew there’d be plenty of other opportunities to join them at a pub. Every town has a pub, and they all look more or less the same once you’re a month into the schedule. What difference does missing one night make?

So I changed back into my street clothes and, avoiding the crowds waiting in front of the theater, made my exit out the back. It isn’t that I don’t love my fans, it’s just that after a performance that good I’m drained. I have nothing left to give, and the autograph hounds don’t always respect that.

Better to sneak out where nobody thinks to look.

And as I exited the theater into the ally behind the building, I noted the dumpster, a ways away, stuffed to overflowing with the dismembered bodies of the people I’d pointed out to the stage manager a short time before. One arm, hanging over the side, gave the slightest twitch as I passed by, exposed wiring sparking as the fingers reached toward me, then fell dead and limp again, smacking the side of the bin with a dull thud.

When I first took this gig I was surprised to learn how many replicants there were out there, going about normal lives with no idea what they really were. After a few months, however, I’d become cynical. I played my roll, pointed them out to the stage manager and let him take care of them. All I wanted was to do my job, go back to my motel room and get a few hours sleep before I had to be back on the road in the morning, to the next town, for the next performance.

It’s not the most glamorous life in the world, but I’m doing what I love, I bring entertainment to the masses and I help catch a few stray replicants. Overall, it’s a pretty good gig.

I mean, the travel’s a bitch, but it’d be petulant of me to complain about that one detail. After all, I knew what was required of me when I took the job, and I wouldn’t swap the job for anything in the world.

I like the life I lead, and the travel is part of that, so I accept it.

Such is the lot, after all, of a Turing actor.

Weekly Prompt Story: The Orchard Out Back

http://podcasting.isfullofcrap.com/2012/11/04/weekly-challenge-341-picktwo/

The Orchard Out Back

By Christopher Munroe

We buried you in the cherry orchard. Then, a week later, we buried you again.

With each iteration that arrived, we were quick to act, caving in your skull and hiding the body out there. It was easy enough to do, nobody was looking for bodies after all. You kept going in to work through it all, and got home in time to help me with the digging. We could’ve kept it up forever, but for two things.

The repetition is growing tiresome.

There’s limited space in the cherry orchard that we can dig up.

So: Fix the damn duplicator!

My Biography

My name is Christopher Munroe, and I am a human being.

I was born in Edmonton, grew up in Calgary, and have spent the past 8 years doing a mixture of Dinner Theatre and writing, financing myself with work as a waiter.

I’m both biologically human and deeply connected to communities made up of other humans, and I’ve never said or done anything to cause you to doubt my underlying, fundamental humanity.

And if a man in a charcoal suit and black leather gloves asks about me, you will tell him all of this.

Tell him this and nothing more.

To: The accounting department of Genetech

Re: My memo of May 3d.

As you recall, I recently wrote a memo regarding the company secretively replacing employees with replicants who took over their lives for nefarious purposes.

I imagine you took said memo as the ravings of a madman. Obviously, the idea Genetech would replace employees with replicants to save on wages/benefits is ludicrous, It’d been meant as a joke, in hindsight a tasteless one. I only hope it didn’t cause any distress.

I do apologise for my lack of tact, and would like to stress: Never, ever think about this issue in the future.

Yours:

Munsi.