American science fiction writer (born 1952)
Kim Stanley Robinson (born 23 March 1952) is a science fiction novelist most famous for his Mars trilogy.
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Nadia would have been pleased, if she had had more faith in the robots. These seemed okay, but her experiences with robots in the years on Novy Mir had made her wary. They were great if everything went perfectly, but nothing ever went perfectly, and it was hard to program them with decision algorithms that didn’t either make them so cautious that they froze every minute, or so uncontrolled that they could commit unbelievable acts of stupidity, repeating an error a thousand times and magnifying a small glitch into a giant blunder, as in Maya’s emotional life. You got what you put into robots, but even the best were mindless idiots.
“Part of a team,” Ann said dully.
“Well, you are.”
“I know.” She sighed. “We’ll all say that. We’ll all go on and make the place safe. Roads, cities. New sky, new soil. Until it’s all some kind of Siberia or Northwest Territories, and Mars will be gone and we’ll be here, and we’ll wonder why we feel so empty. Why when we look at the land we can never see anything but our own faces.”
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“Being on Mars will change us in an evolutionary way.”
Arkady shook his head vehemently, causing him to spin a little in the air over the table. “No, no, no, no! History is not evolution! It is a false analogy! Evolution is a matter of environment and chance, acting over millions of years. But history is a matter of environment and choice, acting within lifetimes, and sometimes within years, or months, or days! History is Lamarckian! So that if we choose to establish certain institutions on Mars, there they will be! And if we choose others, there they will be!”
She did not want to act. Everyday life was enough. But she did enjoy the world of the theater. This was a new way of getting at people and changing their values, less wearing than the direct approach of politics, more entertaining, and perhaps in some ways even more effective. Theater in Odessa was powerful; movies were a dead art, the constant incessant oversaturation of screen images had made all images equally boring; what the citizens of Odessa seemed to like was the immediacy and danger of spontaneous performance, the moment that would never return, never be the same.