William Gibson and The Internet Essay Example

computer scientists. Managed in a military fashion due to its military origins, ARPA's appointed project manager dictated the network's operations and was easily identifiable as its leader. By 1972, the number of mainframe computers within ARPANET had grown to 37.

As the usage of the network changed, users of ARPANET began utilizing it for more than just exchanging military information. They started sending emails to each other via private mailboxes. By 1983, ARPANET had grown significantly, leading to the separation of the military research component into a separate network called MILNET. In 1987, the system became accessible to educational facilities, academic researchers, and international research organizations who wished to utilize it. With the increasing prevalence of local area networks, many hosts served as gateways to these networks. Consequently, a network layer called IPA (Internet Protocol) was developed to facilitate the interoperability of these networks.

The Internet is formed by the interconnection of various long haul IP based networks that have been created over time by different groups such as NASA, NSF, and states. These networks are able to interoperate due to the use of IP. Before 1990, the Internet was primarily used for communication through a complex and uninteresting text format. The majority of users on the Internet during this time consisted of computer programmers, students, hackers, societies, government officials, and a small number of artists interested in digital media.

Introduced in 1992, "Mosaic" was a groundbreaking web browser developed by a British programmer. This innovative browser seamlessly integrated text and graphics, revolutionizing the internet landscape. It not only made navigation effortless but also facilitated the creation of web pages. Consequently, individuals worldwide eagerly started developing their own

online presence.

The growth of the Internet has been phenomenal. In 1989 alone, the number of networks connected to the NSFNET/Internet soared from 346 to an impressive 997. Simultaneously, data traffic experienced significant surges during this period.

Presently, there are approximately 200,000 to 400,000 main computers directly linked to NSFNET. This vast network offers a platform for around eleven million people globally to freely exchange information.

The Internet is continuously growing, with companies developing new tools and programs to improve communication speed and facilitate the fast transfer of large data volumes. "The Internet is an amazing advancement that shapes both the 20th and 21st centuries. Nevertheless, online interactions still require someone on the other side."

According to T. Leery (observer 29/5/94) on page 16, the lonely and socially awkward nerd who spends their time in front of a computer is seen as pitiful. In contrast, interpersonal and interactive communication holds significance. The Internet has given rise to various clubs, organizations, cultures, and societies since its inception. This is because users perceive it as a cost-effective or even free means of global communication. Additionally, the Internet's association with diverse ideologies and its allowance for freedom of expression contribute to its appeal. Governing and censoring the Internet completely prove impossible due to its vast size and lack of a single governing entity or organization that owns it. In the early days of the Internet, there were individuals known as "hackers," including members from the "Cyberpunk" group – mostly male computer science students – who attempted to infiltrate government and restricted systems.

Most hackers adhere to a set of principles. Firstly, they believe access to computers should be unbounded and absolute: "Always yield

to the Hands-On Imperative!". Secondly, they advocate for the unrestricted sharing of information. Thirdly, they encourage a skepticism of authority and the promotion of decentralization. Fourthly, they believe hackers' skills should be the basis for evaluation, rather than arbitrary criteria. Lastly, they recognize the potential for creation of art and beauty through computer technology.

In conclusion, computers have the potential to positively impact lives. An article introduced me to a group known as the "Extropians" who aspire for immortality and the ability to explore space and time. These individuals identify as libertarians and advocate for privatizing the oceans and air. Jay Prime Positive, a member of the Extropians, desires to transfer their consciousness into a computer. They imagine spending a significant amount of time in a virtual realm where they have multiple bodies and multiple versions of themselves. Given their struggles with gender identification, they express the desire to include a female body within this digital space.

The group has many ideas about the future. Perhaps you have never considered the idea of using nanotechnology to release molecule-sized robots into your body to clean out your arteries. Another idea is to create a floating free state by repurposing old oil tankers, similar to the sprawl described in Gibson's "Mona Lisa Overdrive". This would be a place where freedom and unrestrained intellect could thrive, and where you could finally escape government control and excessive taxes. The Extropians aspire to move beyond the limitations of nature and biology and venture into space. They believe that computers have sparked human evolution.

Cyberspace

William Gibson coined the term "Cyberspace" in his 1984 novel "Neuromancer" to describe the latest advancement in electromechanical communications,

telematics, and virtual reality. In Gibson's concept, Cyberspace allows individuals to simultaneously experience time, space, and multi-dimensional, pan-sensory data flow. He depicted it as a vibrant neon city where all global data is stacked up and visually navigable. Without this visual comprehension, finding specific data within the complexity of Cyberspace becomes overwhelming. This visual understanding defines what Cyberspace is.

"A sensory hallucination that legitimate operators experience daily, in every nation... It is a visual representation of data extracted from the computer systems of every human. The complexity is beyond imagination. There are lines of light arranged in the empty space of the mind, forming clusters and constellations of data.

In his book Neuromancer, William Gibson compares Cyberspace to the fading lights of a city and identifies it as the heart of the Internet. In 1991, psychologist Timothy Leery, in an interview with David Gale, described Cyberspace as electronic real estate and a comprehensive electronic reality. He highlighted the difficulty of managing the vast amount of forthcoming data that will be available, encompassing movies, TV shows, libraries, and recordable knowledge.

These are the extensive natural crude oil reserves waiting to be tapped. In the 15th century, we explored the planet; now we must prepare once more to chart, colonise, and open up an entirely new world of data. Software serves as the maps and guides into this terrain. The fascinating aspect of Cyberspace is its ability to create the concept of a community. Every subculture requires an outsider's community to embrace and seek refuge in. For the Cyberpunk, this community does not physically exist in any specific location. It can be accessed anywhere through a modem, yet it remains

the closest thing to a community on earth.

The Cyberpunk subculture is unique because it does not have a specific physical location for its members to gather. Instead, there are numerous bulletin boards around the world that have a Cyberpunk style. These boards serve as platforms for young cyberpunks to discuss the latest hardware and software. It is commonly known as the "place" where long-distance telephone conversations occur. However, it is also a valuable source for all digitally or electronically transmitted information, making it the hub for commerce, industry, and human interaction.

Cyberpunk History

Within Cyberpunk literature, there is a focus on individuals who are not in positions of importance within technologically advanced cultural systems.

In Cyberpunk narratives, the prevailing theme revolves around a dominant "system" that governs the lives of ordinary individuals. This system can take the form of an oppressive government, a conglomerate of corporations, or a fundamentalist religion. The effectiveness of these systems is amplified by advanced technologies, particularly information technology such as computers and mass media, which enable greater control over its constituents. Moreover, individuals themselves are integrated into this technological system through brain implants, prosthetic limbs, cloned or genetically modified organs, and other enhancements. As a result, humans become an integral part of "the Machine," embodying the essence of the "cyber" element in Cyberpunk. A notable incident that gained widespread attention was when young computer enthusiasts were arrested for hacking into a government computer file, propelling Cyberpunk into the spotlight as a front-page news story in the New York Times.

William Gibson, known as the creator of "Cyberpunk," gained fame for his dystopian novels

featuring rebellious computer experts and underground criminals. His first book, "Neuromancer," achieved an impressive feat by winning the Hugo, Nebula, and Philip K. Dick awards, making it the first to receive such recognition. Building upon the success of his groundbreaking science fiction masterpiece Neuromancer, Gibson crafted a more intricate and captivating novel that intertwines these two realms rapidly. In Count Zero, we are introduced to Bobby Newmark, a teenage hacker nicknamed "Count Zero," who frequently explores Cyberspace. It is within this digital domain that he encounters an extraordinary artificial intelligence unlike any he has ever encountered before – a peculiar woman surrounded by wind and stars who rescues him from certain demise. Unaware of what this remarkable phenomenon represents or why it intervened on his behalf, Bobby remains puzzled.

Later, Angie Mitchell, a mysterious girl with a neural network-rewired head, has the ability to channel entities from Cyberspace without a deck. Essentially, she can be possessed. Eventually, Bobby encounters Beauvoir, a member of a Voudoun/cyber sect, who informs him that the entity he met in Cyberspace was Erzulie and that he is now favored by Legba, the lord of communication. Beauvoir explains that Voudoun is the ideal religion for this era because it is pragmatic - its focus is on achieving results rather than salvation or transcendence. Ultimately, it becomes apparent that after the fragmentation of AI Wintermute, who attempted to unify the Matrix, the unified being split into several entities that embodied the different Haitian loa. The reasons for this remain unclear.

Now, there are other emerging writers in the Cyberpunk genre such as Bruce Sterling and Pat Cadigan. Additionally, there exists a 'overground' Cyberpunk magazine

named Mondo 2000, along with numerous small fanzines published on desktops. A prevailing theme found in most Cyberpunk literature is the insignificance of commodities in the near future Earth. With the ability to manufacture anything at a low cost, goods produced and the commodities needed to create them no longer hold central importance in the economy. The only valuable commodity now is information. Cyberpunk literature envisions a bleak world resembling the punk rock culture and post-apocalyptic movies like Blade Runner and Mad Max, offering an imagined means of evading the street-level violence portrayed in these films.

The combination of Neuromancer and Blade Runner established the boundaries for Cyberpunk, which combines high tech and low life. William Gibson's phrase, "The street has its own uses for technology," encapsulates the allure of these narratives. Many people continue to believe that anything stylistically or thematically different from these works cannot be considered Cyberpunk. Gibson's influence extends beyond literature and film. The term Cyberpunk has been applied in various ways, often cheaply or foolishly. Those who committed computer crimes with modems were labeled as "cyberpunks" or hackers, as were urban hipsters who embraced technology and techno-fetishism. Gibson transcended being just a science fiction writer and became a cultural icon. [Gareth Branwyn] described the Cyberpunk worldview as the future imploding into the present during a MONDO 2000 conference on the WELL platform.

There was no nuclear Armageddon. The concern is the potential loss of valuable land. The battleground now lies within people's minds.

• The new governments are the megacorps.
• The U.S is a major bully but lacks economic dominance.
• The world is fragmenting into numerous subcultures and designer cults with unique languages, codes, and lifestyles.
• Computer-generated
  

info-domains and the benefits of chemistry are the next frontiers.

William Gibson, whose dystopian world is considered to be in a state of temporary decay compared to "Cyberspace," the embryonic existence of the "virtual world" within the global Internet computer network.

In his latest novel, Virtual Light, Gibson portrays a futuristic world where a pair of designer sunglasses serves as a repository for crucial information related to a fraudulent scheme aimed at reconstructing earthquake-ravaged San Francisco. Gibson's protagonists are a small group of neo-punks and homeless individuals. Set in a dystopian landscape, his narrative sharply challenges the notion of progress by highlighting the adverse effects of prevailing social and technological trends. In this 20th-century scenario, access to the Internet is limited to computer terminals that rely on modems for information transmission.

In 2013, it is now possible to access the Internet directly through your brain using neural plugs and complex interface programs that convert computer data into perceptual events. The Cyberspace interfaces, which have military origins, are referred to as being used by console cowboys. These programs were initially designed for cracking industrial banks and were developed for a military operation, specifically

the assault on the Kirensk computer nexus.

Basic module consisted of a Nightwing microlight, a pilot, a matrix deck, and a jockey. We were using a virus known as Mole, which was part of the Mole series, the original intrusion programs in existence. " [Neuromancer]. "The matrix has its origins in early arcade games...

In his novel Neuromancer, Gibson explores the relationship between early graphics programs and military experiments involving cranial jacks. Additionally, Gibson suggests that individuals can not only connect to the matrix but can also connect to other individuals through the matrix using a device called a simstim deck. By using the simstim deck, one can fully experience the sensations and emotions of the person they are connected to. For example, "Case hit the simstim switch. And flipped in to the agony of a broken bone. Molly was braced against the blank grey wall of a long corridor, her breath coming ragged and uneven."

In an instant, Case returned to the matrix and felt a searing pain in his left thigh. This quote from "Neuromancer" illustrates the inherent danger of the matrix. Being directly connected to the matrix means that any changes made to your interface program can have severe consequences, even resulting in death if the program is completely deleted.

One of the characters in Neuromancer named Dixie Flatline has earned a reputation as a cyber jockey hero due to his ability to survive deletion in the matrix. He holds significance as he has experienced brain death on three occasions, according to a conversation: 'Well, if we can get the Flatline, we're home free. He was the best. You know he died brain death

three times.' She acknowledged this by saying, 'Flatlined on his EEG. Showed me the tapes.'" [Neuromancer].

The Flatline, a person no longer existing, has had their mind stored in a RAM chip for connection to the matrix. Cyberpunk is fascinated by the media technologies that became popular in the 80s, such as desktop publishing, computer music, and now desktop video. Cyberpunks enthusiastically embrace these technologies. The rapid progression from video games to virtual reality has benefited from a dedicated group of enthusiasts eager to try out each new simulated experience. The convergence of multimedia industries (publishing, computer, broadcasting, and recording) centers around Cyberpunk, where these new product experiments find a critical yet playful market.

Cyberpunk originates from the numerous technical and scientific universities established in the US to serve the military industrial complex. The typical Cyberpunk individual is white, middle class, and possesses technical skills. They belong to a new generation of white collar workers and seek to resist the burdens of work and suburban life, albeit temporarily. Instead of dropping out, they choose to immerse themselves in the world of technology. These Cyberpunks exemplify how each successive generation must explore and understand the boundaries and possibilities of media technology through experimenting with their daily lives. In the case of Cyberpunk, their willingness to serve as guinea pigs for emerging technologies has played a role in shaping the networked realm of Cyberspace, the interactive universe of multimedia, and the novel experiences offered by virtual reality.

There is a tension in Cyberpunk between the military and the skilled individual trained in advanced technology. Cyberpunk, like all subcultures, expresses a conflict. One side believes that technology can provide a small

realm of freedom for people, allowing them to escape the constraints of modern life. However, it is important to note that the technologies of virtual reality, multimedia, and Cyberspace would not exist without funding from the Pentagon for military purposes. On one hand, Cyberpunk is a counterculture that aims to achieve freedom through appropriate technology.

On one hand, the cyberpunk phenomenon has become a thriving market for new gadgets and a fertile ground for innovative entrepreneurs with cutting-edge technology products to sell. It has infiltrated various forms of entertainment such as pop music (including industrial, post industrial, and techno pop genres), television shows (like MTV, Saturday morning cartoons, and the popular "Max Headroom" series), and movies (such as "Total Recall," "Lawnmower Man," and the Japanese "Tetsuo" series).

One significant development in this realm is the bi-monthly magazine called Wired, which caters to the cyberpunk community and receives partial funding from Nicholas Negroponte, the director of MIT Media Lab. Additionally, Mondo 2000's key figures have played a crucial role. It is noteworthy that the micro technology described in cyberpunk not only connects the streets to the vast information networks of cyberspace but also serves to link the middle-class rural areas to the middle-class urban environments.

Despite its appeal, cyberpunk often elicits discomfort and even fear within some individuals. The X Generation encompasses both slackers and hackers.

According to most demographers, the individuals belonging to our generation, known as Phreakers, Cyberpunks, and Neuronauts, can also be referred to as Ravers and techno-heads. It is believed that we possess a high level of street-smarts and are well-versed in pop-culture, but lack knowledge in classical subjects such as geography, civics, and history. In

these areas, we are considered an academic disgrace. Furthermore, our generation is deemed to have less ambition, idealism, morals, and discipline compared to previous generations in the 21st century. We are also highlighted as the most aborted, incarcerated, suicidal, uncontrollable, unwanted, and unpredictable generation in history. These perspectives are emphasized by the authors of the 13th Generation.

The work of cyberpunks is mirrored in various aspects of pop culture in the 1980s, such as rock videos, the hacker underground, and the edgy street technology found in hip-hop and scratch music. In Gibson's world, Cyberspace is a sensory illusion that exists within the complex network of computers. Gibson envisions a future where individuals can directly connect their nervous systems to the internet, creating a far more intimate connection between their thoughts and the digital world. This concept of Cyberspace is formed by the merging of all connected consciousness, databases, installations, and interconnected information circuits, whether human or not. In Gibson's fiction, Cyberspace is no longer just an interesting concept but an integral part of the world he presents.In the book "Cyberspace: First Steps," which is a compilation of papers from The First Conference on Cyberspace that took place at the University of Texas, Austin in May 1990, Michael Benedikt provides a definition of Cyberspace. According to Benedikt, Cyberspace can be described as a multidimensional, artificial, or 'virtual' reality that is globally networked, computer-sustained, computer-accessed, and computer-generated. Benedikt acknowledges that this fully developed version of Cyberspace currently only exists within the realm of science fiction and the imaginations of a limited number of individuals. However, he highlights various advancements in the computer industry that are bringing us closer

to realizing this vision of Cyberspace. These include the development and access to three-dimensionalized data, real-time animation capabilities, implementation of ISDN (Integrated Services Digital Network), enhancements to electronic information networks, provision of scientific visualizations for dynamic systems, creation of multimedia software, design of virtual reality interface systems, and integration with digital interactive television.

Cyberpunk in TV and Cinema

One Film "WAR GAMES" revolved around a college student who hacked into the US defense computer, initiating a simulation program for a nuclear attack on Russia, which appeared to be authentic to the Russians. In the near future, a British film titled "Hackers" will be released, with Iain Softley (BackBeat) serving as the director. Additionally, "The Net" starring Sandra Bullock (Speed) and a Gibson Cyberpunk thriller called "Johnny Mnemonic" are set to be released. The latter is a $26 million science fiction movie based on Gibson's short story, featuring Keanu Reeves as the main character and directed by Robert Longo.

The film "Johnny Mnemonic" features a star-studded cast including Ice-T, Dolph Lundgren, Takeshi Kitano (known for the cult film "Sonatine"), Udo Kier, Henry Rollins, and Dina Meyer. The screenplay of this movie is based on William Gibson's original story, which was published in the anthology "Burning Chrome". "Johnny Mnemonic" will be widely released in December 1995.

Set in early 21st century Los Angeles, the film Blade Runner loosely adapts Philip K. Dick's novel "Do Androids Dream of Electric Sheep?". Amidst the immense cultural diversity of humanity in the film, five replicants—synthetically designed organic robots—have managed to escape their slave status on an off-world colony. These replicants are owned by the Tyrell Corporation and possess exceptional levels of physical and mental development.

The

Tyrell Corporation genetically engineers replicants to have a four-year life span, in order to prevent them from surpassing the emotional capabilities of humans. The corporation promotes the notion of being "More Human Than Human" as a marketing slogan, while also exploiting them as slave labor, similar to the settlers of Earth's New World. However, it is important to also consider that replicants are technologically advanced and can be seen as a new form of life. In another context, "Max Headroom" was an exceptionally Cyberpunk TV show characterized by its animated VJ for a British music-video channel.

In order to introduce him, a short film was made that portrayed Kevin Kelly's theory about the net. He believes that Cyberpunk writing is about filling every corner with entertainment, and considers television to be the greatest Cyberpunk invention of all time.

Theories

One man who has his own theory about the net is Kevin Kelly (exective editor of Wired). He incorporates ideas from chaos theory, cybernetics, current thinking on evolution, and research into computerised artificial life with his own experience of on-line culture. According to Kelly, we are currently in the Neo-Biological Era, where the line between machines and living beings is being blurred. Machines are becoming more biological and the biological is being engineered. This shift is happening because we have reached the limits of industrial thinking.

Instead of relying on linear cause and effect logic, which is insufficient for understanding complex systems such as phone networks, global economies, and the Internet, we have started to investigate natural systems. After utilizing mother nature for nourishment and resources, we are now exploring her for inspiration. An idea being considered involves the potential

demise of the Internet. "It is conceivable that if there are 200 million individuals attempting to send email messages on the Internet, the entire system could come to a standstill. Its own prosperity might be its downfall."

Meanwhile, telephone companies are offering E-mail for a monthly fee of $5, ensuring it is reliable and free from traffic congestion. Although it's a scenario that we hope does not occur, it is still something that needs to be considered. According to George Gilder of the Hudson Institute, a revolution is about to unfold, driven by sand, glass, and air. This revolution will have an immeasurable impact on all of us. From sand, microchips will emerge, providing powerful computing abilities on tiny silicon slices smaller than a thumbnail and cheaper than a book. Glass will be shaped into fiber-optic cables that can transmit information of any size at incredible speeds. In the air, expansive frequency bandwidths will enable the wireless transmission of digital data of any kind from anywhere to anywhere instantaneously, practically at no cost.

According to Timothy Leary, the individual who popularized the saying "turn on, tune in and drop out" during the 1960s, believes that the internet is the future of the 20th and 21st centuries. He finds it impressive, however, he acknowledges that when using the internet, one is still interacting with another person on the other side. Leary expresses sadness for the solitary nerd who sits in front of a computer and communicates only with themselves. He emphasizes the significance of contact and the importance of interpersonal and interactive communication.

"We are wiring global consciousness, progressing towards a global mind - a global village - where

a universal language will emerge. Communication will rely on images rather than words."

Jean Baudrillard coined the term "postmodern society" to describe a new social order centered around simulation. In this society, models, codes, communication, information, and the media play a significant role in creating a radical departure from traditional societies. Baudrillard's concept of the postmodern universe also includes the idea of hyperreality, where thought and behavior are influenced by models and codes, and entertainment, information, and communication media offer more immersive experiences than everyday life. This shift to hyperreality and the embrace of computer, media, and technological experiences mark a departure from what Baudrillard refers to as the "desert of the real."

Visions of the Future

Gibson envisions a multi-dimensional space inhabited by vast "data structures" where representations of data flow within computer/telecommunications networks found in military and corporate memory banks. This vision of cyberspace was developed during the 80s through workshops and laboratories in silicon space, with efforts to visually experience it, physically interact with it, fly through it, and even hear it. These ideas were supported by the development of practical "virtual reality" machines like W Industries' Virtuality and VPL's Reality built for two, which were available for purchase in the US and Britain by 1990. By 1994, affordable headsets and programs made virtual reality accessible to a wider audience.

The Cyberpunk future embraces virtual reality, which is a computer-generated artificial environment.