The revolution grows micro, happens everywhere. Except everybody knows that everywhere is as a good as nowhere. As we float in our plastic domes. Is neoliberalism birthed in the summer of ’69? What did Woodstock and the Moon Walk do to us? Did they remake us all as cybernetic astronauts, tethered as if by umbilical cord to an AI similar to the one that awakens and talks to us at the end of 2001: A Space Odyssey? What accounts for the recurrence of “space” in so many of the texts of Hippie Modernism? Why, too, is this the moment of LSD and “Spacewar”? Did neoliberalism shoot us all into space? Where does acid figure in relation to this transformation? What effect did it have on the collective imaginary? Abbie Hoffman had his helment smashed, he says, (and by “helmet,” he meant his “subjective experience”), during a bad acid trip at Woodstock. (The book to consult for an account of Abbie’s trip is Ellen Sander’s Trips: Rock Life in the Sixties.) Even as he imagines the festival as a prefiguration of a new WOODSTOCK NATION, he also describes it as the first time in history that we successfully landed a man on the Earth. “Calling Planet Earth,” echoes June Tyson at the end of “Space is the Place.” Perhaps what we saw is that we’re all one thing, one brain, the General Intellect, a new infant floating out in space. What do we do with ourselves? Stewart Brand assumes that this condition makes us as gods, and that we might as well get good at it. But he does so while involved in a counterculturally-conducted investigation of communal living. The neoliberal cognitive map clicked into place in multiple minds at once there in the late 60s and early 70s. We’re all right there in that “Earthrise” photograph, our collective self-portrait. My hunch, however, is that this map is the veil that we need to pierce if we’re ever to get free.