Of all the bewildering diversity of new of consumer choices on offer before the middle of the century that would have stunned people from only a generation earlier, none was perhaps as shocking as the many ways there now were to be dead. As in all things of the 21st century what death looked like was dependent on the wealth question.
Certainly, there were many human beings, and when looking at the question globally, the overwhelming majority, who were treated in death the same way their ancestors had been treated. Buried in the cold ground, or, more likely given high property values that made cemetery space ever more precious, their corpses burned to ashes, spread over some spot sacred to the individual’s spirituality or sentiment.
A revival of death relics that had begun in the early 21st century continued for those unwilling out of religious belief, or more likely, simply unable to afford any of the more sophisticated forms of death on offer. It was increasingly the case that the poor were tattooed using the ashes of their lost loved one, or that they carried some momento in the form of their DNA in the vague hope that family fortunes would change and their loved one might be resurrected in the same way mammoths now once again roamed the windswept earth.
Some were drawn by poverty and the consciousness brought on by the increasing period of environmental crisis to simply have their dead bodies “given back” to nature and seemed to embrace with morbid delight the idea that human beings should end up “food for worms”.
It was for those above a certain station where death took on whole new meanings. There were of course, stupendous gains in longevity, though human beings still continued to die, and increasingly popular cryonics held out hope that death would prove nothing but a long and cold nap. Yet it was digital and brain scanning/emulating technologies that opened up whole other avenues allowing those who had died or were waiting to be thawed to continue to interact with the world.
On the low end of the scale there were now all kinds of interactive cemetery monuments that allowed loved ones or just the curious to view “life scenes” of the deceased. Everything from the most trivial to the sublime had been video recorded in the 21st century which provided unending material, sometimes in 3D, for such displays.
At a level up from this “ghost memoirs” became increasingly popular especially as costs plummeted due to outsourcing and then scripting AI. Beginning in the 2020’s the business of writing biographies of the dead ,which were found to be most popular when written in the first person, was initially seen as a way for struggling writers to make ends meet. Early on it was a form of craftsmanship where authors would pour over records of the deceased individual in text, video, and audio recordings, aiming to come as close as possible to the voice of the deceased and would interview family and friends about the life of the lost in the hopes of being able to fully capture their essence.
The moment such craft was seen to be lucrative it was outsourced. English speakers in India and elsewhere soon poured over the life records of the deceased and created ghost memoirs en mass, and though it did lead to some quite amusing cultural misinterpretations, it also made the cost of having such memoirs published sharply decline further increasing their popularity.
The perfection of scripting AI made the cost of producing ghost memoirs plummet even more. A company out of Pittsburgh called “Mementos” created by students at Carnegie Mellon boasted in their advertisements that “We write your life story in less time than your conception”. That same company was one of many others that had brought 3D scanning of artifacts from museums to everyone and created exact digital images of a person’s every treasured trinket and trophy.
Only the very poor failed to have their own published memoir which recounted their life’s triumphs and tribulations or failed to have their most treasured items scanned. Many, however, esqued the public display of death found in either interactive monuments or the antiquated idea of memoirs as death increasingly became a thing of shame and class identity. They preferred private home- shrines many of which resembled early 21st century fast food kiosks whereby one could chose a precise recorded event or conversation from the deceased in light of current need. There were selections with names like “Motivation”, and “Persistence” that might pull up relevant items, some of which used editing algorithms that allowed them to create appropriate mashups, or even whole new interactions that the dead themselves had never had.
Somewhat above this level due to the cost for the required AI were so-called “ghost-rooms”. In all prior centuries some who suffered the death of a loved one would attempt to freeze time by, for instance, leaving unchanged a room in which the deceased had spent the majority of their time. Now the dead could actually “live” in such rooms, whether as a 3D hologram (hence the name ghost rooms) or in the form of an android that resembled the deceased. The most “life-like” forms of these AI’s were based on the maps of detailed “brainstorms” of the deceased. A technique perfected earlier in the century by the neuroscientist Miguel Nicolelis.
One of the most common dilemmas, and one that was encountered in some form even in the early years of the 21st century, was the fact that the digital presence of a deceased person often continued to exist and act long after a person was gone. This became especially problematic once AIs acting as stand-ins for individuals became widely used.
Most famously there was the case of Uruk Wu. A real estate tycoon, Wu was cryogenically frozen after suffering a form of lung cancer that would not respond to treatment. Estranged from his party-going son Enkidu, Mr Wu had placed the management all of his very substantial estate under a finance algorithm (FA). Enkidu Wu initially sued the deceased Uruk for control of family finances- a case he famously and definitively lost- setting the stage for increased rights for deceased in the form of AIs.
Soon after this case, however, it was discovered that the FA being used by the Uruk estate was engaged in wide-spread tax evasion practices. After extensive software forensics it was found that such evasion was a deliberate feature of the Uruk FA and not a mere flaw. After absorbing fines, and with the unraveling of its investments and partners, the Uruk estate found itself effectively broke. In an atmosphere of great acrimony TuatGenics the cryonic establishment that interred Urduk unplugged him and let him die as he was unable to sustain forward funding for his upkeep and future revival.
There was a great and still unresolved debate in the 2030’s over whether FAs acting in the markets on behalf of the dead were stabilizing or destabilizing the financial system. FAs became an increasingly popular option for the cryogenically frozen or even more commonly the elderly suffering slow onset dementia, especially given the decline in the number of people having children to care for them in old age, or inherit their fortunes after death. The dead it was thought would prove to be conservative investment group, but anecdotally at least they came to be seen as a population willing to undertake an almost obscene level of financial risk due to the fact that revival was a generation off or more.
One weakness of the FAs was that they were faced with pouring their resources into upgrade fees rather than investment as the presently living designed software meant to deliberately exploit the weaknesses of earlier generation FAs. Some argued that this was a form of “elder abuse” whereas others took the position that to prohibit such practices would constitute fossilizing markets in an earlier and less efficient era.
Other phenomenon that came to prominence by the 2030’s were so-called “replicant” and “faustian” legal disputes. One of the first groups to have accurate digital representations in the 21st century were living celebrities. Near death or at the height of their fame, celebrities often contracted out their digital replicants. There was always need of those having ownership rights of the replicants to avoid media saturation, but finding the right balance between generating present and securing future revenue proved challenging.
Copyright proved difficult to enforce. Once the code of a potentially revenue generating digital replicant had been made there was a great deal of incentive to obtain a copy of that replicant and sell it to all sorts of B-level media outlets. There were widespread complaints by the Screen Actors Guild that replicants were taking away work from real actors, but the complaint was increasingly seen as antique- most actors with the exception of crowd drawing celebrities were digital simulations rather than “real” people anyway.
Faustian contacts were legal obligations by second or third tier celebrities or first tier actors and performers whose had begun to see their fame decline that allowed the contractor to sell a digital representation to third parties. Celebrities who had entered such contracts inevitably found “themselves” staring in pornographic films, or just as common, in political ads for causes they would never support.
Both the replicant and faustian issues gave an added dimension to the legal difficulties first identified in the Uruk Wu case. Who was legally responsible for the behavior of digital replicants? That question became especially apparent in the case of the serial killer Gregory Freeman. Freeman was eventually held liable for the deaths of up to 4,000 biological, living humans. Murders he “himself” had not committed, but that were done by his digital replicant. This was done largely by infiltrating a software error in the Sony-Geisinger remote medical monitoring system (RMMS) that controlled everything from patients pacemakers to brain implants and prosthetics to medication delivery systems and prescriptions. Freeman was found posthumously guilty of having caused the deaths (he committed suicide) but not before the replicant he had created had killed hundreds of persons even after the man’s death.
It became increasingly common for families to create multiple digital replicants of a particular individual, so now a lost mother or father could live with all of their grown and dispersed children simultaneously. This became the source of unending court disputes over which replicant was actually the “real” person and which therefore held valid claim to property.
Many began to create digital replicants well before the point of death to farm them out out for remunerative work. Much of work by this point had been transformed into information processing tasks, a great deal of which was performed by human-AI teams, and even in traditional fields where true AI had failed to make inroads- such as indoor plumbing- much of the work was performed by remote controlled droids. Thus, there was an incentive for people to create digital replicants that would be tasked with income generating work. Individuals would have themselves copied, or more commonly just a skill-based part of themselves copied and have it used for work. Leasing was much more common than outright ownership and not merely because of complaints of a new form of “indentured servitude” but because whatever skill set was sold was likely to be replaced as its particulars became obsolete or pure AI that had been designed on it improved. In the churn of needed skills to obsolescence many dedicated a share of their digital replicants to retraining itself.
Servitude was one area where the impoverished dead were able to outcompete their richer brethren. A common practice was for the poor to be paid upfront for the use of their brain matter upon death. Parts of once living human brains were commonly used by companies for “capucha” tasks yet to be mastered by AI.
There were strenuous objections to this “atomization” of the dead, especially for those digital replicants that did not have any family to “house” them, and who, lacking the freedom to roam freely in the digital universe were in effect trapped in a sort of quantum no-man’s-land. Some religious groups, most importantly the Mormons, responded to this by place digital replicants of the dead in historical simulations that recreated the world in which the deceased had lived and were earnestly pursuing a project in which replicants of those who had died before the onset of the digital age were created.
In addition, there were numerous rights arguments against the creation of such simulated histories using replicants. The first being that forcing digital replicants to live in a world where children died in mass numbers, starvation, war and plague were common forms of death, and which lacked modern miracles such as anesthesia, when such world could easily be created with more humane features, was not “redemptive” but amounted to cruel and unusual punishment and even torture.
Indeed, one of the biggest, and overblown, fears of this time was that one’s digital replicant might end up in a sadistically crafted simulated form of hell. Whatever its irrationality, this became a popular form of blackmail with videos of “captive” digital replicants or proxies used to frighten a person into surrendering some enormous sum.
The other argument against placing digital replicants in historical simulations, either without their knowledge, their ability to leave, or more often both, was something akin to imprisoning a person in a form of Colonial Williamsburg or The Renaissance Faire. “Spectral abolitionists” argued that the embodiment of a lost person should be free to roam and interact with the world as they chose whether as software or androids, and that they should be unshackled from the chains of memory. There were even the JBDBM (the John Brown’s Digital Body Movement) and the DigitalGnostics, hacktivists group that went around revealing the reality of simulated worlds to their inhabitants and sought to free them to enter the larger world heretofore invisible to them.
A popular form of cultural terrorism at this time were so-called “Erasers” entities with names such as “GrimReaper” or “Scathe” whose project consisted in tracking down digital replicants and deleting them. Some characterized these groups as a manifestation of a deathists philosophy, or even claimed that they were secretly funded by traditional religious groups whose traditional “business models” were being disrupted by the new digital forms of death. Such suspicions were supported by the fact that the Erasers usually were based in religious countries where the rights of replicants were often non-existent and fears regarding new “electric jinns” rampant.
Also prominent in this period were secular prophets who projected that a continuing of the trends of digital replicants, both of the living, and the at least temporarily dead, along with their representing AI’s, would lead to a situation where non-living humans would soon outnumber the living. There were apocalyptic tales akin to the zombie craze earlier in the century that within 50 years the dead would rise up against the living and perhaps join together with AIs destroy the world. But that, of course, was all Ningbowood.
An imaginary book excerpt inspired by Adrian Hon’s History of the Future in 100 Objects.