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The Information Age Has, Indeed, Delivered Us A Brave New World
By Gregory McNamee
Disappearing Through the Skylight, by O.B. Hardison,
Jr. (Penguin Books). Paper, $11.
IT'S A STRANGE new world out there. Factory workers are
made of metal and plastic; money, an increasingly abstract proposition,
is made and lost not in workshops and fields but on flickering
screens. Databases grind through a million mainframes, assembling
your biography and mine to a fantastic degree of detail. Food
is synthetic, and we nuke it to edibility in microwave ovens.
Half the country can't place Russia on a map, but the rest can
direct-dial a telephone number in Moscow in a minute's time. The
electronic age has been upon us for a decade or more now, and
we are scarcely able to fathom the enormous changes it still portends.
O.B. Hardison, Jr., badly wants to help. A professor emeritus
of English literature and former director of the Folger Shakespeare
Library, Hardison set up shop as a futurist late in life, having
grown interested in the effects of all this newfangled technology
on the arts, our culture, and our souls.
Disappearing Through the Skylight abounds in his excitement
over these effects. And if Hardison bites off more than he or
his readers can comfortably chew, he's unapologetic for it. Instead,
he takes us on a whirlwind tour of the history of the future--that
is, of 20th-century developments leading to today's electronic
wonderland. His expedition spins from subject to subject: Architectural
semantics, artificial intelligence, mathematical biology, the
Dada movement in the arts, and the politics of the machine all
enter into it at one point or another. The result is a sometimes
incoherent (making it perfectly postmodern) but thought-provoking
excursion into the new and unknown.
Technology, Hardison writes, can be a liberating force, freeing
workers from the drudgery of the assembly line and double-entry
bookkeeping. (He does not, however, go on to say that technological
advantages are generally held by the very few, nor that all the
time-saving machines surrounding us have increased the typical
American workweek from 40 to 60 hours.) It is also a universalizing
power, one that subtly erases the differences between, say, a
Holiday Inn in Schenectady and one in Singapore. Daniel Boorstin
complained about the process 35 years ago in The Image:
the same sunlamp in the bathrooms, the same chocolate on the pillows,
the same paper umbrellas in the same green drinks.
Independent of cultural values, the new technology permits a
McDonald's hamburger restaurant to arise by Gorky Park, a Madonna
video to entertain children in Dar-es-Salaam. Its universalizing
force can diminish differences between human beings as well, perhaps
lessening their individuality and certainly compromising their
value in the economic machine. Thanks to the new technology, it's
now cheaper for Ford Motors to manufacture some car parts in Korea,
others in the Philippines, and still others in Brazil, all to
be assembled on the Mexican border; it's now more cost-effective
for an American airline company to process tickets for a New York-to-Chicago
direct flight in computerized offices in Ireland and the Lesser
Antilles. Given no shortage worldwide of cheap labor and easy
technological access to it, small wonder that American workers
are scrambling to keep even something of the standard of living
they enjoyed 10 years ago...even in the face of what's being touted
as an unprecedented economic boom.
But for Hardison these are passing matters too mundane to observe.
Ever the highbrow, he's more interested in exploring how scientific
ideas penetrate popular culture than considering the displacements
they may cause, or shock waves they may send off.
A century ago, John Rockefeller, having caught wind of Darwin
along with the rest of the industrialized world, was fond of saying,
"The growth of a large business is merely the survival of
the fittest." Today, words like gigabyte and paradigm
fill the air, bandied about by citizens in white lab coats and
mechanic's overalls--and also, Hardison points out, by artists
and writers, for whom it was not so long ago fashionable to shun
any contact with the new and metallic.
In bringing the arts to bear on his discussion, Hardison shines
brightly. In the late 19th century, he notes, French writers all
but rose up in arms over the Eiffel Tower, an engineering feat
that, Alexandre Dumas protested, "even the commercial America
would reject." Today their Parisian counterparts exalt the
glass pyramid that fronts the Louvre, and speak adoringly of the
plastic-and-metal playhouse that is the Centre Pompidou. T.S.
Eliot's great poem The Waste Land, written during the First
World War, is "an expression of bafflement; a kind of silence,
you might say," in the face of technological horror; today
our required reading is Philip Dick's Do Androids Dream of
Electric Sheep?, and Umberto Eco's Foucault's Pendulum,
the secret hero of which is a personal computer.
The arts are no longer predominantly modernist, opposed to technology,
reliant on individual craft, informed by the classical European
past. They're modern and even postmodern, often collectively produced,
generated by word processors or light pens, ahistoric. Hardison
seems to think this condition is well and good, that the "disappearances"
(a word encountered a bit too often in his pages) of artistic
and cultural elites "complete the democratization of art
begun by Dada." Anyone, he seems to be saying, can be an
artist--provided, he does not add, that the right technological
goodies, still expensive enough to keep them a province of political
and financial elites, are at hand.
Hardison's vision of an exotically happy future, populated by
intelligent robots and electronic artists, full of interactive
novels and vaulting skyscrapers, will not be to everyone's taste;
and in any event, the jury's still out on whether such trifles
as the greenhouse effect and global deforestation will throw a
monkey wrench into the works. First published at the dawn of the
Information Age, which is to say way back in the 1980s, his book,
punctuated by one gee-whiz after another, is nonetheless provocative
reading, if only because it foresees so clearly how closely linked
once-separate worlds--the arts, finance, languages, politics and
technology--have become.
The question remains whether what we think of as the best of
our present culture will indeed disappear through the skylight,
or simply sink into a glittering mire.
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