(This
is the written version of my presentation at a panel on “Science Fiction and Futurism –
Philosophy and Ethics for a Global Era”. The panel was part of the Australian Defence College’s Profession
of Arms seminar, “Science Fiction as a Lens into Future War”, held in Canberra
on 3 October 2019. This written version contains considerably more detail than could be presented in the limited time available for the panel.)
First, thanks to all concerned at the Australian Defence College for organising this event, and for the invitation to take part. The topic that we’ve been assigned for this panel raises numerous issues and could sustain a lifetime program of research. My contribution today is intended as something of a conceptual map that is not meant to be controversial, but I’m sure some of it will be anyway. What isn’t? I hope, nonetheless, that it will be helpful as a starting point for thought.
1.
Political leaders, military strategists, members of the armed forces at all
levels, commentators on public affairs, and responsible citizens in democratic
societies all need to consider:
- When, if ever, is it ethically justifiable to go to war? (Just war theorists use the Latin term jus ad bellum.)
- If it is ever ethically justifiable to go to war, how are we justified in fighting? (Just war theorists use the term jus in bello.) Are there limits that should apply, and if so what are they?
3.
Generally, three families of theories about the ethics of war have some
credibility or prestige within modern liberal democracies. We can question
whether the third is technically an ethical theory, but it plays the same role,
and I think it does contain at least a residual ethical element:
4. Before going further, it’s
important to note that there are other approaches that now lack credibility
among thoughtful people in liberal democracies. These approaches emphasize such
things as empire, personal and national glory, spreading religion or ideology,
the idea of war as a kind of adventure or grand game, or as character building,
and so on. A whole range of such approaches were once popular, but are now
commonly viewed with disdain.- Pacifist theories, which, with limited exceptions and variations, rule out acts of violence.
- Just war theories.
- International relations realist (or simply "realist") theories of war. These are basically theories of enlightened self-interest.
Historically, that is a recent
development. These approaches to war lost credibility as a result of the horror
of trench warfare in World War I, the immense destructiveness of the atomic
bombs used in World War II, and the hydrogen bombs developed soon after, and
doubtless other historical developments. But at least until World War I, these
older ideas had great currency.
Prior to that time, few
narratives of future wars included warnings against the horrors of war as such,
or against the horrors of a future form of war. Where they expressed warnings,
as they often did, it was usually against geopolitical and military vulnerability,
as with “The Battle of Dorking”, a novella by G.T. Chesney (1871), and, in the
Australian context, The Yellow Wave by Kenneth Mackay (1895). The great
exception here is The War in the Air by H.G. Wells (1908), which I’ll
return to in more detail.
5. This is not the place to
examine the detail of pacifist theories of war and violence, just war theories,
and realist theories of war. That would require a course in military ethics –
some people in the audience may have completed such a course, or even taught it,
but we can’t do that today.
Briefly, however, it seems to
me that pacifism is not viable, and at the same time something more than
enlightened self-interest is needed here. That is, something like just war
theory is needed to guide political leaders, serving military personnel, and
other citizens of a democratic society. We all yearn for some guidance as to
when going to war is ethically justified – not just prudentially wise
– and when our methods of fighting in war, including the tactics that we
employ and the weapons that we develop and use, are ethically acceptable.
Furthermore, I don’t see how
we can send men and women into military operations without giving them some
kind of intellectually respectable ethical basis for what is expected of them, and some kind of reassurance of what they are ethically entitled to do within limits.
6. Rather than trying to
develop that basis today, I want to make two general points about all three
somewhat credible approaches to the ethics – or whatever fills in for ethics –
of war.
7. First point: all
these theories face a problem. The traditional theories, and especially just
war theories, were developed in very different circumstances from those
applying today. Traditional just war theory works well and intuitively when
applied to relations between nation states such as those of Europe following
the Peace of Westphalia in 1648: i.e. nation states with similar cultures and
military technologies, and with relatively little ability to harm each other by
our current standards. (The Thirty Years’ War, which raged across Europe prior
to the Peace of Westphalia, was immensely destructive. But the opposing sides
were not armed with strategic bombers and nuclear missiles; they weren’t
dependent on civilian infrastructure that could be destroyed by cyber attacks;
they were not thinking about weapons and weapon systems controlled by
autonomous Artificial Intelligence.)
Today, we possess immensely
destructive weapons. We find ourselves involved in asymmetrical struggles
against non-state actors such as revolutionary groups, insurgents, and
terrorists. Our motives for going to war have broadened to include humanitarian
issues that are often genuinely urgent, but also provide opportunities for
cynicism and abuse. We’re now contemplating what amounts to posthuman warfare.
Any ethical basis for fighting
wars – or for refusing to fight them – must take account of this altered
technological and geopolitical reality.
8. Second point: All
credible theories of war now have something in common that is emphasized by
thoughtful pacifists, just war theorists, and realists.
The concept here is that you
don’t know what you’re in for when you go to war. What looks like a
straightforward, “clean”, war, with costs proportionate to its goals, may soon have
endless unexpected ramifications, become uglier and dirtier than we ever
thought it could, and have terrible costs that did not figure in our
calculations.
We need civilian decision-makers
and ordinary citizens, as well as the military, to understand this. I like to
think that our military personnel, at least, do understand the point, but that
can’t be guaranteed. We should worry about any developments that could reduce
our vivid understanding of war’s meaning and its unpredictability, and so blunt
our democratic engagement with decisions about war.
9. This finally brings me to
fictional narratives about future wars and the future of warfare, whether or
not those narratives are strictly science fiction. I propose to say something
about what those narratives can accomplish, but also something about their
limitations.
10. Broadly speaking, these
narratives serve three main purposes, which I’ll summarise as follows:
- Spectacle – i.e. the future – and with it, usually some kind of futuristic technology – is imagined for entertaining depictions of spectacular battles.
- Warning – this includes warnings about particular military threats that could arise, perhaps resulting from one country’s geopolitical and military weaknesses, and also warnings about the nature of future warfare
- Justice – I’ll use this word as shorthand for anxieties about the justification or
ethics of war, or the justification or ethics of developments in warfare.
Perhaps some of these works should
be considered science fiction. Marketing labels are often arbitrary from a
formal or theoretical point of view. All the same, there is a very long history
of stories and prophecies about future wars involving combatants with basically
unchanged weaponry, tactics, and so on. By contrast, science fiction, as a
literary and cultural phenomenon that arose in the nineteenth century, involves
something more, as I describe in my 2017 book, Science Fiction and the Moral
Imagination, and as I discussed in a talk that I gave at the Australian
Defence College back in June:
- In large part, science fiction responds to a new understanding of the future that became possible, at least for most people, only as a result of the Industrial Revolution. That is, it responds to a conception of the future that emphasizes rapid, continual, visible social change driven and shaped by advances in science, and especially technology.
- To remind us, Chesney’s “The Battle of Dorking” was published in 1871. It depicts a successful invasion of England by Germany in the wake of the devastating Franco-Prussian War of 1870–71. It’s a warning of British military weakness, but little in Chesney’s novella relates to the effects of science and technology. The Germans use basically the same tactics that they’d already used, historically, in defeating France.
- To qualify that, the Germans do use the most advanced military methods of the time. They also use certain vaguely described secret weapons against the British fleet. But even these seem to be no more than mines and torpedoes of kinds already being developed in the 1860s and 1870s.
- By contrast, H.G. Wells’s The War of the Worlds (1897) and The War in the Air (1908) are clearly science fiction.
12. I'm not interested today in exactly where we draw that line. I think it's more important to make other distinctions, such as between narratives that warn about specific wars that could happen now or very soon (with more-or-less existing methods and equipment) and narratives that imagine, and possibly warn about, new methods of warfare. Even here, there are grey areas, and we might come back to them before this panel concludes. However, “The Battle of Dorking”, which warns of British vulnerability to attack by the newly unified Germany, is one kind of narrative. The War in the Air is very different.
Thematically, “The Battle of
Dorking”, like many other such narratives right up to the present day, warns us
to prepare for war. By contrast, The War in the Air warns us
about what future warfare might be and mean.
13. The War in the Air
was first published in serial form in 1908. In his preface to the 1921 edition,
Wells states that “war alters its character” when it involves flying machines. These
alter not only the methods but also the consequences of war. He predicts that
war will become far more destructive, and far less decisive, and consequently,
war, as depicted in this novel, “means social destruction instead of victory as
the end of war.” (The relevant passage in the 1921 preface reflects a similar
passage in the novel itself.)
Thus, The War in the Air
belongs to, or even establishes, a tradition of science fictional warnings
about the methods of future warfare. It warns about the consequences of
emerging military technology. In doing so, it depicts a vast, horrifically
destructive war at sea, on land, and in the air.
14. At first, the narrative is
rather light and comical in depicting the aptly named Smallways family, and it initially
remains light even after Bert Smallways, through a series of misadventures,
finds himself aboard a German military airship. Thereafter, however, the tone
becomes increasingly serious and tragic.
At one point, Wells describes
an attack on New York City by the German air-fleet. The Germans quickly destroy
the city’s defences, and New York is forced to surrender. However, this leads
to a popular insurrection that the airships can’t control, since they lack the
personnel to occupy territory on the ground. As the situation worsens, the
German air-fleet bombs the city, destroying it and massacring its inhabitants.
Then the Asian countries
unleash their own secret air-fleets, the whole world is soon at war, great
cities are bombed to rubble, and the global economic system collapses. The world
is rapidly engulfed in anarchy, famine, and pestilence. Before he sees war for
himself, we’re told of poor Bert Smallways, “Hitherto he had rather liked the
idea of war as being a jolly, smashing, exciting affair, something like a Bank
Holiday rag on a large scale, and on the whole agreeable and exhilarating. Now
he knew it a little better.”
15. Most narratives of future
war published before World War I could have been written by Bert Smallways,
i.e. by people with relatively naïve ideas of what modern warfare really meant.
Wells stands as the obvious exception, at least among writers in English,
though an honorable mention should go to Arthur Conan Doyle for his 1914
novella “Danger! Being the Log of Captain John Sirius”, which predicted
unrestricted submarine warfare not long before Britain was actually confronted with
it during World War I (and notwithstanding claims at the time that Conan Doyle
was engaging in alarmism and fearmongering).
16. In The War in the Air,
Bert Smallways has a wake-up call when he observes war at first hand. The
nations of the world had their own wake-up calls with the horror of the
trenches in World War I; the terror and fury of aerial bombardment, and then
the use of atomic bombs, in World War II; and the development of the hydrogen
bomb and intercontinental ballistic missiles in the early phases of the Cold
War. By the 1950s, serious novels about future warfare were more often in the
mode of apocalyptic warnings against war, rather than warnings to prepare
for war – though of course, many depictions of future warfare, especially those
set in the distant future, still treated war primarily as spectacle.
Despite that last point, old
ideas of war as adventure, glory, or justified conquest now lack credibility.
They lost credibility during much the same period that the thematic balance of
future war narratives shifted toward warnings about future warfare itself.
17. As a much more recent
example, I’ll mention Lotus Blue (2017) by my fellow panelist Cat
Sparks. This is a post-apocalyptic novel set generations after a worldwide
conflict controlled and conducted by autonomous Artificial Intelligences. In
the novel’s present-day, a dangerous AI general – the Lotus Blue of the title –
is waking up, restoring its weapon systems, and planning new conquests. The
question is whether it can be stopped.
This novel warns against
posthuman warfare much as Wells warned about the potential of militarized
flying machines and large-scale aerial bombing.
18. There are limits to what
we should expect of these narratives. Generally speaking, they cannot replace
ethical and philosophical argument about the traditional questions of jus ad
bellum and jus in bello, and that is not their purpose. There are
some clearly pacifist science fiction novels, such as Joan Slonczewsk’s A
Door into Ocean (1987). Overall, however, it is not the job of novelists to
teach ethical theories.
Consider The War in the Air
again. If we knew nothing else about Wells, we’d see that he despises naïve
ideas of war that make it seem like an adventure, and likewise he has no time
for the idea of military glory. But we’d not be able to tell whether he is
against these things from, say, a pacifist perspective, a just war perspective,
or a perspective based on realism in international relations. All of
these schools of thought emphasise the cost and tragedy of war.
Nor can a book like The War
in the Air predict the detail of what it warns about. In 1908, Wells
portrayed large-scale aerial bombardment, capturing much of its power and terror,
but not exactly what it would be like in practice. The same applies to other
works by Wells, such as The World Set Free (1914), which memorably describes
atomic bombs, although real ones turned out to be rather different. A more
recent novel, such as Ghost Fleet, by P.W. Singer and August Cole
(2015), depicts what high-tech non-nuclear warfare between great powers – including
cyberwarfare, advanced stealth technology, and operations in space – might be
like, but the reality would probably look rather different if such a war
actually happened.
In short, narratives of future
war represent emerging or imagined developments in warfare, rather than
describing them in advance with true-to-life accuracy. And again, they are not
a substitute for more formal ethical and philosophical thinking about
justification in going to war and waging war.
19. Fictional narratives of future
war can, of course, provide entertainment and spectacle. They can warn us to
prepare for specific threats. But beyond this, they can engage with the ethics
of war in their own way. For a start, these narratives can remind us of the
gravity of our choices in how we prepare for war, go to war, and wage war.
There’s much in contemporary society that can disengage us from the seriousness
of what’s at stake – though as I touched on earlier, I’d hope that those sworn
to fight on our behalf would need less reminder than most.
Narratives of future war can
remind us not only of the grave cost of war but also the unpredictable
ramifications of our choices. Sometimes, as with Iain M. Banks’s Culture series
of novels, beginning with Consider Phlebas in 1987, they examine the
anxieties that surround even seemingly justified interventions, the likelihood
that something unforeseen will go wrong, and the seriousness of choices to
intervene even in moral catastrophe – and the seriousness of choices not
to intervene.
20. Stories of future war are
not a substitute or a rival for formal ethical thinking. In their way, though,
they can engage with ethical questions about war and warfare, and they nourish
our thinking. This is a broad claim, but one that could, I think, be developed and
supported in far more detail.
Meanwhile, thank you again for
having me here and for listening patiently. I look forward to your questions
and observations, and I’m sure I’ll learn from them.
Russell Blackford is a Conjoint Senior Lecturer in Philosophy at the University of Newcastle, NSW. He is the author of numerous books, including Strange Constellations: A History of Australian Science Fiction (co-authored with Van Ikin and Sean McMullen, 1999) and Science Fiction and the Moral Imagination: Visions, Minds, Ethics (2017).