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In Cyberspace, Everyone Can Hear You Scream.
By Gregory McNamee
Digital Delirium, edited by Arthur and Marilouise Kroker
(St. Martin's). Paper, $16.95.
THEY SAY THE cause of revolution is hunger in the interplanetary
spaces. One has to sow wheat in the ether." Thus Osip Mandelstam,
the great poet of the Russian Revolution, just before he disappeared
into the Gulag.
Mandelstam knew wheat, and he knew hunger. About the ether that
surrounds our time he could hardly guess, but he had it right:
to feed our demand for information, for the constant revolutions
of fashion and culture, cyberspace has to be cultivated--and weeded--constantly.
We hardly know better than did Mandelstam what the ether is really
like. Is the Web an electronic cottage, a virtual village, the
global mind? Is the Internet a common carrier, like the railroad,
or a twist on the telephone system, or a fancy radio with text
and images added, a tool out of Brazil? Does information
want to be free? Does technology liberate or enslave? Do androids
dream of electric sheep?
Crammed into the overstuffed bookstore shelves devoted to computers,
among the endlessly repetitive idiot's guides to Windows 98 and
HTML programming, among the C+ manuals and Macintosh bibles, are
a growing number of books that aim to address such questions.
Digital Delirium, one of a series of St. Martin's Press
books devoted to "hypermodern society," is a fine representative
of a new genre: what might be called cybercriticism.
Like the genre as a whole, Digital Delirium is relentlessly
postmodern in outlook, all doorbell and no house, and often postlogical
and postgrammatical to boot. It contains a fair share of inanities:
about half of the book is given over to tuneless poems and playlets,
to fetchingly elegant but utterly pointless political treatises,
mostly by Europeans, who attach more symbolic significance to
the whole business of cyberspace than do their practical if unpoetic
North American counterparts.
Not that the Americans are always helpful. The editors, academics
to the last, are fond, for instance, of whispering such pleasant
McLuhanesque nothings as "Today, things have speeded up to
inertia" and "In California, nobody fears nothingness."
Say what?
But for all that, and despite its willfully sloppy organization,
Digital Delirium is studded with little gems of intelligence.
Some come from the editors, who construct a smart, coherent argument
for the decentralizing possibilities of cyberspace, the possibilities
of remaking a mass media that "replace reciprocity with false
simulation, exchange with the tyranny of information overload
producing a numbed culture that shuts down for self-protection,
interaction with a dense operational network substituting polls
and focus groups and high-intensity marketing warfare for genuine
human solidarity, data for communication, speed for meaning."
(It's a tangled and tortured sentence, but never mind: the point
is a good one.)
Other gems come from contributors who, in postmodern and cybercultural
circles at least, constitute the usual suspects: R. U. Sirius,
Bruce Sterling, the French technotheorist Paul Virilio, the ubiquitous
Jean Baudrillard. Sirius, the mad genius behind the first few
volumes of Mondo 2000, examines the corporate monopolization
of the media, relentlessly spreading to the Web, and observes,
"The net is a terrific environment for guerrilla warfare.
It's a great jungle in which to hide and from which to make attacks."
(If only the Unabomber had had a Mac to go with his camos.)
Sterling seconds Sirius, noting that the Information Society
has little use for corporate models of old, and takes a refreshingly
simple-minded view of what the cyberstream really means: "The
Internet is a vast machine for finding somebody else to write
your term paper for you." For his part, Virilio is wacky
in a Gauloise-smoking, certain-of-the-truth way, taking snippets
of arguments to extremes, but to sometimes entertaining and thought-provoking
effect: "Imagine that all of a sudden I am convinced that
I am Napoleon: I am no longer Virilio, but Napoleon. My reality
is wounded. Virtual reality leads to a similar de-rationalization.
However, it no longer works only at the scale of individuals,
as in madness, but at the scale of the world." (If only the
Unabomber had had a cocked hat to go along with his Mac and camos.)
And Baudrillard, in an uncharacteristically lucid exposition,
wonders about the ability of the Web to make history an indeterminate,
undefined proposition--to drive out good information with bad,
to make the historical fact of the Holocaust disappear, to erase
cultural memory as easily as we format a diskette.
There's other good stuff here as well. Ken Hollings, an English
writer, has great fun examining the semiotics of Godzilla, whose
name, we learn, combines the English word gorilla with
the Japanese kujira, "whale." And Frank Lantz,
one of the twisted minds behind the cybersplat game Quake, takes
a semiotic turn of his own: "All-sucking, all-spewing, the
Quakebody is projectile and target, monster and hero, author and
interface, key, switch, and trap. It is the body with nothing
but organs, irrupting and transmitting, and always forever the
barricaded global variable in an infinite cascade of light-speed
calculations." (Thank heaven, at least the body counts for
something in the physicality-denying world of cyberspace.)
It's a mixed bag, Digital Delirium, like the online medium
it attempts to analyze. And it's one of the better books in a
library choked with webspeak and two-bit sociology.
We need better still, of course. The first shock wave of the
computer revolution has passed. In the rubble lies space to plant
a little wheat--and to satisfy some righteous hunger.
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