TODAY’S PAPER | September 09, 2026 | EPAPER

Entropy, AI and two different answers

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Nadia Kaleem September 09, 2026 3 min read
The writer is a Lecturer of English Literature at DHA Suffa University, and a PhD scholar in decolonial literary studies

The greatest fantasy of science fiction is to build an intelligence, powerful enough to solve the oldest problem of the universe - entropy, the gradual death of the universe towards a cold and meaningless silence. This fear has an origin. Rudolf Clausius (1860) and later Lord Kelvin (1862) formalised the second law of thermodynamics: the universe was not just old; it had an expiry date, and was moving irreversibly towards a static "heat death". Fiction absorbed it immediately. In 1895, HG Wells published his novel, The Time Machine, ending with a haunting image of a grisly crab scuttling alone on a dying beach at the end of the world. EM Forster's The Machine Stops (1909) doesn't talk about entropy rather of a civilisation that relies completely on AI. What's horrifying here is the machine fails not due to some cosmic force but from within due to the inability of its inhabitants to comprehend the whole system.

Between these ideas of a universe running down and a humanity that has handed its fate to a machine, what Isaac Asimov contributed wasn't the anxiety; it was the rescue. The Last Question (1956) follows a series of supercomputer, Multivac, then its descendants Microvac and so on until the idea of a creator is outgrown. Across trillion of years the humanity keeps probing the same question, can entropy be reversed? Can the universe be saved from fading into a cold silence? For most of the story, the machine's reply remains the same: insufficient data for meaningful answer. Only at the end, when the stars die and the last human consciousness merges into the machine itself, it finds the answer, and the story ends not with annihilation but with a new beginning – the machine speaking the words: "Let there be light! And there was light." Here, the AI solves the oldest fear science has handed humanity; it stops being an onlooker to entropy and becomes an agent that might defeat it. In the same year, 1956, Arthur C Clark's The City and the Stars offers another solution to this anxiety, where a machine holds off decay not retrogressively but by freezing a civilisation in perfect inertia. In another story by G Ballard, The Voices of Time (1960), as the end of the universe approaches, the last human chooses not to fight rather builds an underground mandala, a symbol of cosmic unity, and surrenders to sleep.

Across the science fiction stories, you find three responses to entropy: annihilation, resistance and preservation. But a different thread comes earlier. This is a second tradition that meets the same anxiety but with a different response. Dr Allama Muhammad Iqbal was in Munich and Cambridge between 1905-1908, precisely when the thermodynamic pessimism was a live outlook in European intelligentsia. His seminal work, The Reconstruction of Religious Thought in Islam (1930), approaches entropy by splitting time into two kinds. The 'serial time', which is measured by clock, a spatialised version of time, divided into past, present and future, where the sun does really burn out and entropy crawls, as the science elaborates. Then there is what he calls 'pure duration', drawing from Bergson's durée, which is beneath the serial time, an unobservable layer, which is not divided in past, present and future, rather an incessant flow, which cannot be chopped; here every moment is absorbed in the next and carries the whole past. Iqbal is not denying the scientific idea of heat death, rather the finality of it as the ultimate truth, as the decay belongs to the surface layer of time, not the deepest one. He probes which layer of time we should treat as fundamental when we ask what the data actually means.

Position the two traditions side by side, the difference is enlightening. Science fiction writers externalise the fight against entropy by building AI, running the numbers, engineering a way out. Iqbal internalises it, denying there is a fight to win at the level that actually matters, since decay only administers serial time, not the deeper creative reality beneath it. One tradition needs a saviour. The other simply refuses to grant decay the authority it claims. No AI, however immense, can engineer its way into the deeper layer - that ground has to be sought, not solved.

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