All of those communes, those seedlings of joyful community: why did so few of them take root? Are there lessons to be found among the memories of these vanished experiments? Might we not organize to try something similar today using our own far more advanced technologies? What steps would it require? How might we organize ourselves into a cybernetic communal family? How about a crowd-funded reality experiment? Maybe the Revolution should be televised! By the end of Brand’s essay, Spacewar comes to operate as a grand metaphor. It’s no longer just the name of the first videogame; it’s a parable about cultural revolution, a metonym for real-time video- and computer-assisted reinvention of society through play. Brand also describes it as “a flawless crystal ball of things to come” (78). But what is this future state, this twenty-first century that the game ushered into being? Are we more empowered today or less? Unfortunately Brand was ultimately a libertarian, his optimistic views on the “heroism of engineering” roughly similar to the “heroism of enterprise” imagined by followers of right-libertarian philosopher Ayn Rand. In Brand’s scenario, individuals live and work “communally” in the sense of “side-by-side” or “physically proximate,” but their bodies and minds don’t do much together. Computers and screens and related kinds of machinery mediate our interactions, and capitalism as mode of production remains unchanged. Individuals feeding back but otherwise “doing their own thing” form a subconscious consensus, and a stable teapot reality — a one-world Oikos — locks into place around them.
Preface: in which a moth flies past my head, and in so doing, shocks me out of self-recognition, as terrified of me as I’d be of it, I imagine, were I suddenly to find myself in the presence of an unknown superior power. The Homeostat finds its way back to a sense of comfort, of course — but not unchanged, consciousness adjusted now to accept a fuller sample of its environment. One returns equipped with what alleges to be a means of Summoning Lesser Demons. One adds after the briefest pause that one intends by that, as did Maxwell, the mediating, rather than malevolent, connotation of the word.
Body: Tsembla’s “Gravitating Bones” accompanies me on an afternoon stroll to a park, clouds parted finally to reveal the sun after a heavy morning rain. Birds sing rounds from the upper branches of adjoining rows of trees.
Postscript: “all this represents a body of incommunicable knowledge. Transposed into any human language, the values and meanings involved [in the psychedelic experience] lose all substance; they cannot be brought intact through the barrier” (Lem, Solaris, p. 172).
Is everything I write about in these trance-scripts curated by algorithms? Let us go right through it: you think after all this time, something asking to whisper in my ear would be heard: the “Soul,” floating in an ocean of sound. What would be its message? Egg’s “Fugue in D Minor.”
The dramatic idea dissipates into confusion. Vectors in 2- and 3-dimensional Euclidean spaces. I want utopianism to triumph over unthinkable disaster. The truth of the matter is that divination falsifies whenever it imagines its hand on the rudder, as with Norbert Wiener’s helmsman. Human control systems. Instrumental reason. Intuition is more like reality reloading with updates, extra levels, bonus rounds. A cartoon ghost escapes from a head, exploring by taking the will of others as its guide. Data rate rises and falls. Terry Riley’s “Cactus Rosary” announces, “Some of my work has been altered!” Peyote rattles, aluminum pepper shakers. “Dead artist!” chant voices in unison. My inclination is to reach for a book.