25
" Up to this point, the story of the Gzilt and their holy book was, to students of this sort of thing, quite familiar: an upstart part of a parvenu species/civ gets lucky, proclaims itself Special and waves around its own conveniently vague and multiply interpretable holy book to prove it. What set the Book of Truth apart from all the other holy books was that it made predictions that almost without exception came true, and anticipated phenomena that nobody of the time of Briper Drodj could possibly have guessed at. At almost every scientific/technological stage over the following two millennia, the Book of Truth called it right, whether it was on electromagnetism, radioactivity, atomic theory, the cosmic microwave background, hyperspaciality, the existence of aliens or the patternings of the energy grid that lay between the nested universes. The language was even quite clear, too; somewhat opaque at the time before you had the technological knowledge to properly understand what it was it was talking about and you were reading, but relatively unambiguous once the accompanying technical breakthrough had been made. There "
― Iain M. Banks , The Hydrogen Sonata (Culture #10)
30
" Others reckoned that as long as the termination was instant, with no warning and therefore no chance that those about to be switched off could suffer, then it didn’t really matter. The wretches hadn’t existed, they’d been brought into existence for a specific, contributory purpose, and now they were nothing again; so what? Most people, though, were uncomfortable with such moral brusqueness, and took their responsibilities in the matter more seriously. They either avoided creating virtual populations of genuinely living beings in the first place, or only used sims at that sophistication and level of detail on a sustainable basis, knowing from the start that they would be leaving them running indefinitely, with no intention of turning the environment and its inhabitants off at any point. Whether these simulated beings were really really alive, and how justified it was to create entire populations of virtual creatures just for your own convenience under any circumstances, and whether or not – if/once you had done so – you were sort of duty-bound to be honest with your creations at some point and straight out tell them that they weren’t really real, and existed at the whim of another order of beings altogether – one with its metaphorical finger hovering over an Off switch capable of utterly and instantly obliterating their entire universe… well, these were all matters which by general and even relieved consent were best left to philosophers. As was the ever-vexing question, How do we know we’re not in a simulation? There "
― Iain M. Banks , The Hydrogen Sonata (Culture #10)
31
" Well,” the voice said, seemingly oblivious, “one thing that does happen when you live a long time is that you start to realise the essential futility of so much that we do, especially when you see the same patterns of behaviour repeated by succeeding generations and across different species. You see the same dreams, the same hopes, the same ambitions and aspirations, reiterated, and the same actions, the same courses and tactics and strategies, regurgitated, to the same predictable and often lamentable effects, and you start to think, So? Does it really matter? Why really are you bothering with all this? Are these not just further doomed, asinine ways of attempting to fill your vacuous, pointless existence, wedged slivered as it is between the boundless infinitudes of dark oblivion book-ending its utter triviality?” “Uh-huh, "
― Iain M. Banks , The Hydrogen Sonata (Culture #10)
34
" At sunset above the plains of Kwaalon, on a dark, high terrace balanced on a glittering black swirl of architecture forming a relatively microscopic part of the equatorial Girdlecity of Xown, Vyr Cossont – Lieutenant Commander (reserve) Vyr Cossont, to give her her full title – sat, performing part of T. C. Vilabier’s 26th String-Specific Sonata For An Instrument Yet To Be Invented, catalogue number MW 1211, on one of the few surviving examples of the instrument developed specifically to play the piece, the notoriously difficult, temperamental and tonally challenged Antagonistic Undecagonstring – or elevenstring, as it was commonly known. "
― Iain M. Banks , The Hydrogen Sonata (Culture #10)