Friday, October 12, 2007

Gibson: Really bad hair and really cool shoes

I've blogged about William Gibson in Second Life before and the attempts to make a movie of hist bestselling cyberpunk cultnovel Neuromancer, but here's an interview with him commenting on Second Life



Produced by: Darren Alexander and Ian Daffern

"An interview with author William Gibson about his recent encounters with virtual worlds, following a publicity event in Second Life for his book Spook Country"


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Wednesday, September 05, 2007

Gibsons' Neuromancer





It's been a quiet week at the MindBlizzard blog. Partly because I've been really busy doing a very volatile project in Real Life, but also because I've spend some time rereading the excellent Neuromancer story by William Gibson.





Neuromancer is a must read, or as Daily Tech's Kristopher Kubicki said: "I should preface by saying anyone who hasn't read William Gibson's Neuromancer should run, not walk, to the nearest bookstore and pick up a copy."




Gibson is often seen as the "godfather" of the cyberpunk genre as he started using terms like matrix and cyberspace in his first novel Neuromancer.







Neuromancer is about a hacker, or cyber cowboy named Henry Dorsett Case. Case screwed up a job and his employers got back at him, leaving him half dead and unable to gain access to the matrix again. After a life in the ghetto filled with all sorts of dealings and drugs he's recruited by enormously powerfull people to pull an almost impossible trick. The novel exlores Artificial Intelligence, Virtual Worlds, Genetic Engineering and the rise of the (Cyberpunk trademark) multinational mega corporatioins.

I just noticed an interesting article at Daily Tech, dating march 9 2007 on Sony's virtual platform Home and Neuromancer's 25th birthday. It's called PlayStation Home: William Gibson's Vision Realized written by the aforementioned Kristopher Kubicki. Here's a quote from the article:



"Nearly 25 years in the making, is Sony building the foundations for ubiquitous virtual reality?"



and



"It's not to say Sony overnight duplicated what Gibson has been writing about for 25 years. Even many of Gibson's ideas are not unique, just evolutionary advances on older ideas. What makes me excited about Sony's announcement is that PlayStation Home will be the first ubiquitous virtual reality, if Sony can pull it off.

Now, I should give Second Life some credit here as well. If anything, Second Life is actually closer to Gibson's descriptions of the matrix -- yep, Gibson called it the matrix 15 years before The Matrix and a decade before Ghost in the Shell. The difference between Second Life and Playstation Home is that Sony wants the interaction between virtual and reality to be transparent, especially with media and the internet. Gibson anticipated this dozens of times over the last 25 years in his novels.


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Saturday, August 04, 2007

Pinguin Gibson Stephenson and Metarati

Somehow I've written and deleted the first line of this article about 10 times in the last hour.


What I had in mind was a short blog on William Gibson, acknowledged metarati and author of (a.o.) Neuromancer.


No Maps for these terrirory


Alas, sometimes even visionairs are ruled by their publishers, and so it seemed on this feat. A few weeks ago there was a screener of a documentary called No Maps for These Territori, which is a 90 minute film about Gibson, and is praised as the Documentary of the Year by the LA Times. This was a good and glitchless performance so a 'reading' wouldn't be too hard.

So August 2nd would have been the day to meet one of the cyberpunk and metaverse metarati on a heavily piblicized official Pinguin public reading, but I missed out due to the spectacular (official) opening of the Greenies.

However, through several friends I heard I hadn't missed out on much, as the event was far from smooth. Metaverse Territories reports (and also kindly provides the image above on the No Map Screener):

"...but marketing ploys like Penguin’s organized, very publicized reading by William Gibson is another case altogether. Events like this must go smoothly in order for the world to become a credible place for business AND art, fun AND work. First of all, for SL users who came, it is as much an investment of their time and energy, which for me, was a wasted one (started late, the feed didn’t work until 10 minutes into his reading, didn’t know where to go, never actually saw the avatar etc. etc…). "

According to Gibson's blog he himself was left with a peculiar feeling as well. This should be amended!

Pinguin Presence

Being present in the metaverse these days requires a presence with a mission, or a message. It is going from pages to places in a quest for immersive and shared experience. Pinguin's line of thought isn't a bad one, when it comes to public readings. It just needs work and a fullscale programme (and maybe a few other things).

However, their speck of virtual land doesn't hold much that will draw crowds:

Second Life is an excellent platform to experiment. Even for publishers. A few months ago I wrote some thoughts on that in a post on the Amsterdam Public Library;

"In this new metaversality it would be a challenge for libraries (and publishers for that matter) to explore new formats that would draw back readers to good books.

Neil Stephenson, one of the metarati, is most famous for his novel "Snowcrash" in which the concept of the Metaverse is explored, but another excellent work is called "The Diamond Age" in which the future of reading and publishing is explored."

Here's another thought. Perhaps it would work for Pinguin to setup a giant ancient bookprinting press, have their books (f)lying about like old press letters and create an experience about books.

... just a thought, not a guaranteed success.

The Cyberpunk Metarati

Earlier this week I blogged on the Infocalypse project, a decorum for cyberpunk stories, of which Nexus Prime is one. I didn't check my numbers and linked it to the sim Nexus. Wrong! It should have been Gibson of course. Reading the firts part of the blog entry, it sounds pretty obvious why a cyberpunk-sim is named Gibson. When I first got there (sometime 2006) there ironically was placed a Neil Stephensons' Snowcrash promotion by Pinguin books. Now it's gone though, and replaced with a neat Gibson Spook City promo.

However, since the reading left Gibson with a peculiar feeling, there should be another change for the metarati to explore and experience the metaverse in all its richness and creativeness. I'm not sure who will take up the glove, but here's a proposal.

Geek Meet Challenge

What I'd like to see is Gibson and Stephenson to get a guided tour of the Cyberpunk cities, thrown in with some new Kowloon and steampunk Caledon to see the world they've envisaged and then settle down for a good panel discussion on the metaverse at the weekly Metaversed (and Dr. Dobbs and Information week) Geek Meets.

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Tuesday, February 13, 2007

Snowcrash

From Wikipedia, the free encyclopedia

Snow Crash is a science fiction novel written by Neal Stephenson and published in 1992. It is his third novel. It follows in the footsteps of cyberpunk novels by authors like William Gibson and Rudy Rucker, but breaks away from this tradition by having a heavy dose of satire and black humor.

Like many postmodern novels, Snow Crash has a unique style and a chaotic structure which many readers find difficult to follow. It contains many arcane references to history, linguistics, anthropology, religion, computer science, politics, geography and philosophy, which may inspire readers to explore these topics further, or at least consult relevant reference works. Set in a world with a political-economic system that has been radically transformed, the novel examines religion along with its social importance, perception of reality versus virtual reality, and the violent and physical nature of humanity.

The title of the novel is explained in Stephenson's essay In the Beginning...was the Command Line, as the term for a particular software failure mode on the early Apple Macintosh computer. About the Macintosh, Stephenson wrote that "when the computer crashed and wrote gibberish into the bitmap, the result was something that looked vaguely like static on a broken television set — a 'snow crash.'"


Background

The story takes place in the former United States during the early 21st century. In this hypothetical future reality, the United States Federal Government has ceded most of its power to private organizations. Mercenary armies compete for national defense contracts, and private security guards preserve the peace in gated, sovereign housing developments. Highway companies compete to attract drivers to their roads rather than the competitors', and all mail deliveries are done by hired couriers. The remnants of the government maintain authority only in isolated compounds, where it transacts business that is by and large irrelevant to the booming, dynamic society around it.

Much of the territory ceded by the government has been carved up into a huge number of sovereign enclaves, each run by its own big business franchise (such as "Mr. Lee's Greater Hong Kong" or the various residential burbclaves (suburb enclaves)). This arrangement bears a similarity to anarcho-capitalism, a theme Stephenson carries over to his next novel The Diamond Age. Hyperinflation has devalued the dollar to the extent that trillion dollar bills, Ed Meeses, are little regarded and the quadrillion dollar note, a Gipper, is the standard 'small' bill. For physical transactions, people resort to alternative, non-hyperinflated currencies like yen or "Kongbucks" (the official currency of Mr. Lee's Greater Hong Kong).

The Metaverse, a phrase coined by Stephenson as a successor to the Internet, constitutes Stephenson's vision of how a virtual reality-based Internet might evolve in the near future. Although there are public-access Metaverse terminals in Reality, using them carries a social stigma among Metaverse denizens, in part because of the poor visual representation of themselves via low-quality avatars. In the Metaverse, status is a function of two things: access to restricted environments such as the Black Sun, an exclusive Metaverse club, and technical acumen which is often demonstrated by the sophistication of one's avatar.

Plot summary and major themes

The hero and protagonist whose story the book follows is Hiro Protagonist: "Last of the freelance hackers and Greatest swordfighter in the world". When Hiro loses his job as a pizza delivery driver for the Mafia, he meets a streetwise young girl nicknamed Y.T. (short for Yours Truly), who works as a skateboard "Kourier", and they decide to become partners in the intelligence business. The setting is a near-future version of Los Angeles, where franchising, individual sovereignty and automobiles reign supreme (along with drug trafficking, violent crime, and traffic congestion).

The pair soon learn of a dangerous new drug, called "Snow Crash" — both a computer virus, capable of infecting the brains of unwary hackers in the Metaverse, and a drug in Reality, being distributed by a network of Pentecostal churches via its infrastructure and belief system. As Hiro and Y.T. dig deeper (or are drawn in), they discover more about Snow Crash and its connection to ancient Sumerian culture, the fiber-optics monopolist L. Bob Rife and his enormous Raft of refugee boat people who speak in tongues, and an Aleut harpooner named Raven, whose motorcycle packs a nuke triggered by a literal dead man's switch. The Snow Crash meta-virus may be characterized as an extremely aggressive meme.

Stephenson takes the reader on a tour of the mythology of ancient Sumeria, while his characters theorize upon the origin of languages and their relationship to the Biblical story of the Tower of Babel. Asherah is portrayed as a deadly biological and verbal virus which was stopped in Ancient Sumer by the God Enki. In order to do that, Enki deployed a countermeasure which was later described as the Tower of Babel. The book also reflects ideas from Julian Jaynes's The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976).

The characters speculate that early Sumerian culture used a primordial language which could be interpreted by human beings through the deep structures of the brain, rendering the learning of what he refers to as "acquired languages" needless. This theoretical language is related to glossolalia — also known as the phenomenon of "speaking in tongues" — stating that the babbling of glossolalia is in truth a truncated form of the primordial language. A comparison is made to computers and their binary machine code, which exists on a much more basic level than, for example, the human-readable, high-level programming languages, and as such gives those with the ability to speak the language great power.

In the Snow Crash interpretation of Sumer mythology, the masses were controlled by means of verbal rules called me. The characters of Hiro and Lagos compare me to small pieces of software which could be interpreted by humans, and which contained information for specific tasks such as baking bread. Me were stored in a temple and its distribution was handled by a high priest, referred to as the en. Within this context, Enki was an en who had the ability of writing new me, and is described as the primordial hacker. Also, the deuteronomists are supposed to have had an en of their own, and that kabbalistic sorcerers known as the Baalei Shem (masters of the name) could control the primordial tongue.

Me were erased from people's minds by a meta-virus (see the definition of meta-), a fact theoretically explaining the Tower of Babel myth. Enki then wrote a me called "The nam-shub of Enki", which had the effect of blocking the meta-virus from acting by preventing direct access to the primordial language, making the use of "acquired languages" necessary. The meta-virus did not disappear entirely, though, as the "Cult of Asherah" continued to spread it by means of cult prostitutes and infected women breast-feeding infants. This form of infection is compared to that of the herpes simplex virus or to the way religion is acquired.


Snow Crash
U.S. version cover shot, illustrated by Bruce Jensen.
Author Neal Stephenson
Cover artist Bruce Jensen
Country United States
Language English
Genre(s) Science fiction novel
Publisher Bantam Books (USA)
Released June 1992
Media type Print (Hardback & Paperback)
ISBN ISBN 0-553-08853-X (first edition, hardback)

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