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"I am first of all not a science fiction writer … I write, I suppose, what the Latin Americans call magic realism."
- Harlan Ellison
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| House Voice | ||
| A house-based system that mediates technologies (like phone) with a verbal interface directed to the inhabitants of the house. |
Now here's a customizable interface; no tinkering with "preferences" files for Angela.
| "Angela," the House said, it's voice quiet but compelling, "I have a call from Hilton Swift." "Executive override?" She was eating baked beans and toast at the kitchen counter. "No," it said, confidingly. "Change your tone," she said, around a mouthful of beans. "Something with an edge of anxiety." "Mr. Swift is waiting," the House said nervously. "Better," she said, carrying bowl and played to the washer, "but I want something closer to genuine hysteria." "Will you take the call?" The voice was choked with tension. "No," she said, "but keep your voice that way, I like it." |
| Technovelgy from Mona Lisa Overdrive,
by William Gibson. Published by Bantam in 1988 Additional resources -
|
Clearly, this house voice is a long way from the uninflected artificial speech of today.
Note the differences between this scene in the interaction between the human character and the machine "servant" and a very similar exchange between Jorj X. McKie and the Daily Schedule in The Dosadi Experiment.
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'Chris, the City Fathers are not interested in your welfare; I suppose you know that. They're interested in only one thing: the survival of the city.'
'Drake was the young spatial engineer he employed to terraform the little rock...'
'It diverts integers of the data, the fundamental message-units, so that they no longer agree.'
'Clothes are no longer made from dead fibers of fixed color and texture that can approximate only crudely to the vagrant human figure...'
'Books were just a commodity that had to be produced, like jam or bootlaces.'
