Cyber-Curriculum

I very much enjoyed Cory Doctorow’s riff today on why people keep building torment nexii: Pluralistic: The Coprophagic AI crisis (14 Mar 2024).

He hits on an interesting point, namely that for a long time the fact that people couldn’t tell the difference between “science fiction thought experiments” and “futuristic predictions” didn’t matter. But now we have a bunch of aging gen-X tech billionaires waving dog-eared copies of Neuromancer or Moon is a Harsh Mistress or something, and, well…

I was about to make a crack that it sorta feels like high school should spend some time asking students “so, what’s do you think is going on with those robots in Blade Runner?” or the like, but you couldn’t actually show Blade Runner in a high school. Too much topless murder. (Whether or not that should be the case is besides the point.)

I do think we should spend some of that literary analysis time in high school english talking about how science fiction with computers works, but what book do you go with? Is there a cyberpunk novel without weird sex stuff in it? I mean, weird by high school curriculum standards. Off the top of my head, thinking about books and movies, Neuromancer, Snow Crash, Johnny Mnemonic, and Strange Days all have content that wouldn’t get passed the school board. The Matrix is probably borderline, but that’s got a whole different set of philosophical and technological concerns.

Goes and looks at his shelves for a minute

You could make Hitchhiker work. Something from later Gibson? I’m sure there’s a Bruce Sterling or Rudy Rucker novel I’m not thinking of. There’s a whole stack or Ursula LeGuin everyone should read in their teens, but I’m not sure those cover the same things I’m talking about here. I’m starting to see why this hasn’t happened.

(Also, Happy π day to everyone who uses American-style dates!)

The Sky Above The Headset Was The Color Of Cyberpunk’s Dead Hand

Occasionally I poke my head into the burned-out wasteland where twitter used to be, and whilw doing so stumbled over this thread by Neil Stephenson from a couple years ago:

Neal Stephenson: "The assumption that the Metaverse is primarily an AR/VR thing isn't crazy. In my book it's all VR. And I worked for an AR company--one of several that are putting billions of dollars into building headsets. But..."

Neal Stephenson: "...I didn't see video games coming when I wrote Snow Crash. I thought that the killer app for computer graphics would be something more akin to TV. But then along came DOOM and generations of games in its wake. That's what made 3D graphics cheap enough to reach a mass audience."

Neal Stephenson: "Thanks to games, billions of people are now comfortable navigating 3D environments on flat 2D screens. The UIs that they've mastered (e.g. WASD + mouse) are not what most science fiction writers would have predicted. But that's how path dependency in tech works."

I had to go back and look it up, and yep: Snow Crash came out the year before Doom did. I’d absolutely have stuck this fact in Playthings For The Alone if I’d had remembered, so instead I’m gonna “yes, and” my own post from last month.

One of the oft-remarked on aspects of the 80s cyberpunk movement was that the majority of the authors weren’t “computer guys” before-hand; they were coming at computers from a literary/artist/musician worldview which is part of why cyberpunk hit the way it did; it wasn’t the way computer people thought about computers—it was the street finding it’s own use for things, to quote Gibson. But a less remarked-on aspect was that they also weren’t gamers. Not just not computer games, but any sort of board games, tabletop RPGs.

Snow Crash is still an amazing book, but it was written at the last possible second where you could imagine a multi-user digital world and not treat “pretending to be an elf” as a primary use-case. Instead the Metaverse is sort of a mall? And what “games” there are aren’t really baked in, they’re things a bored kid would do at a mall in the 80s. It’s a wild piece of context drift from the world in which it was written.

In many ways, Neuromancer has aged better than Snow Crash, if for no other reason that it’s clear that the part of The Matrix that Case is interested in is a tiny slice, and it’s easy to imagine Wintermute running several online game competitions off camera, whereas in Snow Crash it sure seems like The Metaverse is all there is; a stack of other big on-line systems next to it doesn’t jive with the rest of the book.

But, all that makes Snow Crash a really useful as a point of reference, because depending on who you talk to it’s either “the last cyberpunk novel”, or “the first post-cyberpunk novel”. Genre boundaries are tricky, especially when you’re talking about artistic movements within a genre, but there’s clearly a set of work that includes Neuromancer, Mirrorshades, Islands in the Net, and Snow Crash, that does not include Pattern Recognition, Shaping Things, or Cryptonomicon; the central aspect probably being “books about computers written by people who do not themselves use computers every day”. Once the authors in question all started writing their novels in Word and looking things up on the web, the whole tenor changed. As such, Snow Crash unexpectedly found itself as the final statement for a set of ideas, a particular mix of how near-future computers, commerce, and the economy might all work together—a vision with strong social predictive power, but unencumbered by the lived experience of actually using computers.

(As the old joke goes, if you’re under 50, you weren’t promised flying cars, you were promised a cyberpunk dystopia, and well, here we are, pick up your complementary torment nexus at the front desk.)

The accidental predictive power of cyberpunk is a whole media thesis on it’s own, but it’s grimly amusing that all the places where cyberpunk gets the future wrong, it’s usually because the author wasn’t being pessimistic enough. The Bridge Trilogy is pretty pessimistic, but there’s no indication that a couple million people died of a preventable disease because the immediate ROI on saving them wasn’t high enough. (And there’s at least two diseases I could be talking about there.)

But for our purposes here, one of the places the genre overshot was this idea that you’d need a 3d display—like a headset—to interact with a 3d world. And this is where I think Stephenson’s thread above is interesting, because it turns out it really didn’t occur to him that 3d on a flat screen would be a thing, and assumed that any sort of 3d interface would require a head-mounted display. As he says, that got stomped the moment Doom came out. I first read Snow Crash in ’98 or so, and even then I was thinking none of this really needs a headset, this would all work find on a decently-sized monitor.

And so we have two takes on the “future of 3d computing”: the literary tradition from the cyberpunk novels of the 80s, and then actual lived experience from people building software since then.

What I think is interesting about the Apple Cyber Goggles, in part, is if feels like that earlier, literary take on how futuristic computers would work re-emerging and directly competing with the last four decades of actual computing that have happened since Neuromancer came out.

In a lot of ways, Meta is doing the funniest and most interesting work here, as the former Oculus headsets are pretty much the cutting edge of “what actually works well with a headset”, while at the same time, Zuck’s “Metaverse” is blatantly an older millennial pointing at a dog-eared copy of Snow Crash saying “no, just build this” to a team of engineers desperately hoping the boss never searches the web for “second life”. They didn’t even change the name! And this makes a sort of sense, there are parts of Snow Crash that read less like fiction and more like Stephenson is writing a pitch deck.

I think this is the fundamental tension behind the reactions to Apple Vision Pro: we can now build the thing we were all imagining in 1984. The headset is designed by cyberpunk’s dead hand; after four decades of lived experience, is it still a good idea?