Sprawl
technology
Sprawl technology
The sprawl series, by W. Gibson, did certainly make an impact on the
way computer technology developed. Ideas such as "cyberspace"
and "corporate states" were not invented by Gibson, but his
mediation of these memes has been most influtential in the instrumentation
of the future. In this article we go deeper into what more can be extracted
from the sprawl series.
The books are really about what happens when the future has already
happened. This is where we are now. Our collective dreams of the future
crashed down in us. We started to live in futureland. The technology we
used was just another version of tomorrow's tech, just that it was version
2.0 instead of 3.0. Unconsciously we all understood that tomorrow would
repeat the same scenario, only that the dreams would be version 4.0.
This paradigmatic leap, the realization of the mechanics of future creation,
started to change the world in a way. Irony - the infertile bastard son
of this realization - became a prominent feature in popular culture. Also,
a kind of meta-awareness spread through society, kitsch made itself popular
again. This was the only way to deal with a future exploded - when everything
was totally meaningless - we had to create our own values.
The hacker movement, that florished during this era, was somehow based
on this realization too. The hacker's approach was similar to the cyberpunk
writers': the future can be created here and now. The writers created
their future in the virtual reality of text; the hackers created the future
by making tomorrow's tech. It's all mental anyway.
The ones who did not realize their future now, still believe that tomorrow's
technology will be spectacular, interesting, mindblowing... Well today's
reality is yesterday's future. That means today's tech is mindblowing
- all it takes is a small amount of mental hotwiring... The hacker's question:
if the lead characters of all that fiction can have such a cool time,
why shouldn't I be able to realize that too?
by Joel
Westerberg copyright (c) 1997
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