of it meant.
And yet no Copy buried in the data itself -- ignorant of the details or not -- could have the slightest trouble making sense of it all in an instant.
'One. Two. Three.'
For time to pass for a Copy, the numbers which defined it had to change from moment to moment. Recomputed over and over again, a Copy was a sequence of snapshots, frames of a movie -- or frames of computer animation.
But . . . when, exactly, did these snapshots give rise to conscious thought? While they were being computed? Or in the brief interludes when they sat in the computer's memory, unchanging, doing nothing but representing one static instant of the Copy's life? When both stages were taking place a thousand times per subjective second, it hardly seemed to matter, but very soon --
'One hundred milliseconds.'
'One. Two. Three.'
Paul listened to his voice as he counted -- as if half expecting to begin to notice the encroachment of silence, to start perceiving the gaps in himself.
'Two hundred milliseconds.'
A fifth of a second. 'One. Two.' Was he strobing in and out of existence now, at five subjective hertz? The crudest of celluloid movies had never flickered at this rate. 'Three. Four.' He waved his hand in front of his face; the motion looked perfectly smooth, perfectly normal. And of course it did; he wasn't watching from the outside. 'Five. Six. Seven.' A sudden, intense wave of nausea passed through him but he fought it down, and continued. 'Eight. Nine. Ten.'
The
'No, I'm fine.' Paul glanced around the innocent, sun-dappled room, and laughed.
Paul counted -- and the truth was, he felt no different. A little uneasy, yes -- but factoring out any squeamishness, everything about his experience seemed to remain the same. And that made sense, at least in the long run -- because nothing was being omitted, in the long run. His model-of-a-brain was only being fully described at half-second (model time) intervals -- but each description still included the results of everything that 'would have happened' in between. Every half-second, his brain was ending up in exactly the state it would have been in if nothing had been left out.
'One thousand milliseconds.'
But . . . what was going on, in between? The equations controlling the model were far too complex to solve in a single step. In the process of calculating the solutions, vast arrays of partial results were being generated and discarded along the way. In a sense, these partial results
'Two thousand milliseconds.'
'One.
If he seemed to speak (and hear himself speak) every number, it was because the effects of having said 'three' (and having heard himself say it) were implicit in the details of calculating how his brain evolved from the time when he'd just said 'two' to the time when he'd just said 'four.'
'Five thousand milliseconds.'
'One. Two. Three. Four.
Besides, hearing words that he'd never 'really' spoken wasn't much stranger than a Copy hearing anything at all. Even the standard millisecond clock rate of this world was far too coarse to resolve the full range of audible tones. Sound wasn't represented in the model by fluctuations in air pressure values -- which couldn't change fast enough -- but in terms of audio power spectra: profiles of intensity versus frequency. Twenty kilohertz was just a number here, a label; nothing could actually
'Ten thousand milliseconds.'
'One. Two. Three.'
Fighting down vertigo, still counting steadily, Paul prodded the shallow cut he'd made in his forearm with the kitchen knife. It stung, convincingly.
And he wondered:
He didn't know what that meant, though. In any terms but his own, he didn't know when 'right now'
'Eight. Nine.
Giddy -- but he said, 'The same as always.' And if that wasn't quite true, no doubt the control had told the same lie. Assuming . . .
'Tell me -- which was I? Control, or subject?'
Paul grunted dismissively; he had no intention of letting Durham know how unsettling the experiment had been. 'What did you expect? Solve the same set of equations two different ways, and of course you get the same results -- give or take some minor differences in round-off errors along the way. You
(1 + 2) + 3 = 1 + (2 + 3)
Paul said, 'So why bother with this stage at all?