futurism

At the end of a press conference in January, Microsoft announced HoloLens, its vision for the future of computing.

The device, which Microsoft classifies as an augmented reality (AR) headset, incorporates a compilation of sensors, surround speakers, and a transparent visor to project holograms onto the wearer’s environment, a sensory middle ground between Google Glass and virtual reality (VR) headsets like Oculus Rift. Augmented and virtual reality headsets, like most technology saddled with transforming our world, reframe our expectations in order to sell back to us our present as an aspirational, near-future fantasy. According to Microsoft’s teaser site, HoloLens “blends” the digital and “reality” by “pulling it out of a screen” and placing it “in our world” as “real 3D” holograms. Implicit in this narrative is that experience as mediated with digital screens has not already permeated reality, a possibility the tech industry casts perpetually into the future tense: “where our digital lives would seamlessly connect with real life.” more...

In Children of Men Clive Owen’s character Theo is trying to secure “transfer papers” from his cousin Nigel who seems to be one of the few rich people left in the no-one-can-make-babies-anymore-dystopia. The two older men are sitting at a dining table with a younger boy, presumably Nigel’s son, who seems to be inflicted in some way. He’s pale and stares vacantly at somewhere just past his left hand which is eerily still in between the twitches of fingers that are adorned by delicate wires. He doesn’t respond to others in the room and isn’t eating the food in front of him. After Nigel yells at him to take his pill we notice that they boy isn’t really sick or particularly disturbed, he’s playing a game attached to his hand. more...

It’s a notable coincidence that Steve Job died exactly two decades after Neil Stephenson completed Snowcrash, arguably, the last great Cyberpunk novel. Stephenson and Jobs’ work exemplified two alternative visions of humans’ relationship with technology in the Digital Age. Snowcrash offers a gritty, dystopian vision of a world where technology works against human progress as much as it works on behalf of it. Strong individuals must assert themselves against technological slavery, though ironically, they rely on technology and their technological prowess to do so.

Apple, on the other hand, tells us that the future is now, offering lifestyle devices that are slick (some might say, sterile). Despite being mass produced, these devices are supposed to bolster our individuality by communicating our superior aesthetic standards. Above all, Apple offers a world where technology is user-friendly and requires little technical competency. We need not liberate ourselves from technology; there’s an app for that.

Values and style are inextricably linked (as Marshal McLuhan famously preached). So, unsurprisingly, the differences between Apple’s view of the future and that of Cyberpunk authors such as Stephenson run far deeper. The Cyberpunk genre has a critical mood that is antithetical to Apple’s mission of pushing its products into the hands of as many consumers as possible. The clean, minimalist styling of Apple devices makes a superficial statement about the progressive nature of the company, while the intuitive interface makes us feel that Apple had us in mind when designing the product—that human experience is valued, that they care. Of course, this is all a gimmick. Apple invokes style to “enchant” its products with an aura of mystery and wonderment while simultaneously deflecting questions about how the thing actually works (as discussed in Nathan Jurgenson & Zeynep Tufekci’s recent “Digital Dialogue” presentation on the iPad). Apple isn’t selling a product, it’s selling an illusion. And to enjoy it (as I described in a recent essay), we must suspend disbelief and simply trust in the”Mac Geniuses”—just as we must allow ourselves to believe in an illusionist if we hope to enjoy a magic show. Thus, the values coded into Apple products are passivity and consumerism; it is at this level where it is most distinct from the Cyberpunk movement. more...

I am a big fan of Marshall McLuhan and think he is due for a well-timed comeback in this the year of his centennial. I posted this great Playboy interview a while back and am now fixated with a new website called McLuhan Speaks. This site archives short video clips of our media prophet in action.

Click the images below to watch some of my favorite short clips from the site.

Here, and ever ahead of his time, McLuhan describes how we will become obsessed with surveilling each other, something that social media often exemplifies.

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