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From: <riacs!rutgers!nyx.cs.du.edu!ahawks> |
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Subject: What *IS* FutureCulture |
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Date: Fri, 29 Jan 93 22:20:53 MST |
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|
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WHAT *IS* FUTURECULTURE? |
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A Manifesto on the Here-and-Now Technocultural [R]evolution |
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|
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by Andy Hawks |
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ahawks@nyx.cs.du.edu |
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ahawks@mindvox.phantom.com |
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|
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FutureCulture E-List Requests & Info |
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future-request@nyx.cs.du.edu <'send info'> |
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|
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You are five years old. You are lieing on a grassy hill, |
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blowing bubbles up into a clear field of blue sky. Bubbles. Right |
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now, as a five year old child, you look at the bubbles, and words pop |
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into your head: "pretty", "oooooo", "float". To you, the bubbles |
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are almost like people -- at least somewhat analogous to Bugs Bunny |
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or a Smurf. Your wide eyes follow the bubbles as they traipse along |
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the gentle prevailing curves of soft winds, turning, rotating, |
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revolving endlessly in the air. A sunray beams its light through one |
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particular bubble you have been admiring, and within its midst your |
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eyes become privy to a new world -- a heretofor unknown domain of |
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chaotic rainbows swirling about along the bubble. The colors, like a |
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sentient anthill, work at once individually and synergetically to |
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give the bubble it's unique flavor, an individual identity among the |
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community of bubbles. |
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|
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As you lay your eyes on the continually morphing rainbows in |
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the bubble, admiring how this internal shapeshifting never ceases as |
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long as the bubble is "alive", the wind brings forth from nearby |
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another bubble. Now you are focused on two bubbles circling each |
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other ever closer, probably communicating in some fashion on some |
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sort of subatomic level. Now that your eyes know to look for the |
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chaotic rainbows, you enthusiastically discover them in this second |
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bubble as well. The rainbows exist in both bubbles, with only a |
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thinly veiled invisible wall of air seperating the two. The rainbows |
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do not stop in admiration or wonder to ponder the existence of |
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another bubble, they continue on with their duties in the wake of the |
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orbic maelstrom that is the individual bubble. And suddenly, in the |
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mesh of an event that seems at once both predetermined and free, the |
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bubles combine and join forces as one. If the sun catches the |
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bubble-morph at the right angle you can still see a wall, where |
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airspace once existed, within the bubble. All the while, the chaotic |
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rainbows have continued of course, and now willingly flow back and |
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forth between what was once two seperate entities. The shape of the |
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bubble-morph is still oddly circular as a whole, with the original |
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shape of the individual bubble-orbs stil clearly visible. |
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|
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The bubble-morph is stil at home among the individual bubbles |
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and still haphazardly surfs the winds as if nothing had happened. |
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Low and behold, a third bubble approaches its vicinity. Same chaotic |
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rainbows, seemingly no different from any other bubble in the group. |
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|
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*POP!* Quickly this third bubble seemingly self-destructs |
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without any reason, sending a fury of bubble residue out into the |
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wind. Some of it lands on a tree, some on the grass, and yet more |
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lands on the bubble-morph. As the bubble morph continues to rotate, |
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revolve, spin endlessly, the residue makes it's way to the |
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translucent crease marking the marriage of two individual bubbles. |
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And, then, it is gone. Absorbed into the structure of he bubble |
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morph, evolving into yet more particles of chaos rainbows. |
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|
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More bubbles float by the bubbly-morph. Some stumble in it's |
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wake and escape it's grasp, some pop, some are attracted to it and |
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become yet another aspect of the holistic bubble-creature, still |
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other bubbles diverge into a completely different spacial area. If |
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you watch long enough, you might even see one portion of the |
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bubble-morph leave, mutating back into it's original state as an |
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individual bubble. |
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|
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All the while, bubbles are combining into new bubbles, bubbles |
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are popping, bubbles are floating, rotating, revolving, spinning, |
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shapeshifting. Affecting and being affected by each other and other |
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entities such as the wind, a sharp blade of grass, a flower pedal. |
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The chaos rainbows never cease, the bubbles will always exist as long |
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as you, as the bubble-maker, decide to keep blowing bubbles. |
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|
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You are now, let's say, 40 years old. You are sitting on the |
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same hill with your five year old child, urging him to discover the |
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wonders of the bubble world. Your eyes are not as wide anymore, at |
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least not as wide as your child's. But do you still find delight and |
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joy in the wonders of bubbles? There is beauty in the bubble world, |
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even though you may approach it now from the perspective of an |
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accomplished chemist, or physicst, or artist, or engineer, or |
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cyberneticist, or 7-11 night manager. Hopefully, you have not closed |
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your eyes to the magic your child sees, the magic you once saw. |
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|
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It should be obvious, by now, that bubbles are a metaphor. |
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What do you think the metaphor is? I would be interested o hear what |
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peole have to say in this regards. But, since this text is to be |
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confined to the context of futureculture, the bubbles are meant to |
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represent subcultures. The caotic rainbows represent the people, the |
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material articles, the ideas, the *memes* that define those |
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subcultures. |
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|
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Thus, you can see, subcultures combine into cultures or bigger |
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subcultures (it's all relative), subcultures may self-destruct, they |
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may evolve or morph, they may diverge in a seperate direction. But |
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watever the case, there's still bubbles because we, as a global |
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village, are like the five year old -- entrenched in the world of |
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bubbles, looking on with wide-eyes. |
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|
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Probably the most important ideas I have related so far are |
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that: 1) the process is continuous with an infinite amount of ebb |
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and flow among and between and through subcultures with an infinite |
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amount of possible outcomes, and 2) when subcultures combine they do |
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not lose their original individual identity, and may in fact leave, |
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though a synergetic effect exists which is *unrelated* to the amount |
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of individual bubbles combined to produce the bubble-morph. The |
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bubble-morph being, obviously, the combination in some fashion or |
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another of seperately defined subcultures. It is also interesting to |
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note that, ultimately, bubbles are "of the same stuff" which can be |
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paralled to individuals in groups on a vast variety of levels. |
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|
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Let us now turn to subcultures, let us see what bubbles we have |
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blown that provide the basic constructs of what we might deem, for a |
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lack of a better word, FutureCulture. When I use the word |
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"FutureCulture" I am referring to the FutureCulture E-List. When I |
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use "futureculture" I am referring to the culture of the future. But |
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it's not really the future, it's here-and-now, and it's in this |
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writing. There are some other words with similar connotations, but |
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yet the distinctions need to be mentioned, and then applied to |
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everyday life. The first word is "technoculture". Like a |
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technocracy is a government run by scientists or those who create |
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technology, a technoculture is a culture that is fueled by |
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technology. America is a technoculture. We would be lost without |
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our televisions, our cars, our computers, our telephones. |
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Futureculture, then, is a way of deciphering what tomorrow will look |
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like in a technoculture. Another label to mention is "new edge". |
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This is a trendy, shortsighted term that has little relevance to the |
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perpetual realities of technoculture and futureculture. New Edge is |
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a here-and-now-gone-tomorrow ideal. Fairly soon, it won't be "new" |
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and increasingly so it is definitely not "edge". The other misnomre |
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to mention is "cyberculture". Cyberculture is probably most closely |
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associated with the idea of futureculture, yet cyberculture is often |
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mis- and over-used. If you look at the meaning of the word "cyber", |
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basically "information" in an oversimplified context, it has little |
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to do with frequently-used notions of cyberculture, specifically a |
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Gibson-esque cyberpunk world as it exists today or in the |
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near-future. |
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|
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These are my own personal reflections on the world of bubbles, |
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and these labels and subcultural labels I am using are better thought |
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of as what I see as the most outstanding reference points to use in |
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the context of getting The Basic Idea (tm) across. Relative labels |
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and reference points, no dictatorial lines being drawn here. |
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|
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Each mention of a subculture will be followed by a basic |
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reasoning by a defense in applying the group to the idea of |
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futureculture. The idea of futureculture evolves *from* the |
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relationship between different bubbles and buble-morphs. These core |
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bubbles and bubble-morphs produce noticeable ideas, trends, and |
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material objects for example, which are deemed by some relatively |
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large bubble-blower (ie society) to reflect the evolution of society |
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and world culture. Simply put, FutureCulture represents an internal |
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and external effort, both passive and interactive, observational and |
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participatory, to: discover these trends/ideas/objects or at least |
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bring acknowledgement of their existence to a larger segment of the |
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global populous, provide an interactive forum for the global populous |
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to discuss such matters and to reflect and refract varying cultures |
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and subcultures, to then apply this discussion to existing cultures |
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and subculture to plant the seeds spawning further |
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trends/ideas/objects. Thus one can begin to see the infinitely |
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cyclic nature of the process. It is a process which you are at |
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varying levels of consciousness engaged in every moment you are |
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alive, by everything you say or do, and every sensory input. By |
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providing the on-line interactive forum of the FutureCulture e-list, |
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we as individuals and members of varying subcultures and cultures can |
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merge the unconscious acts of participation in culture with a |
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conscious understanding, to create/construct/deconstruct/destroy and |
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evolve reality and people's lives on an individual and group basis. |
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Basically, we are analyzing existing culture, we are creating |
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tomorrow's reality, and we are doing it on a here-and-now, globally |
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interactive, seemingly real-time forum. |
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|
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Thus I submit the reference points, the subcultures, the basic |
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bubbles that are essential to futureculture: |
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|
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Virtual Culture - This is probably the easiest to "define". We can |
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--------------- all say with assurance, that to some degree, in any |
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basic sense of the word, we are all |
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participants and members of Virutal Culture. |
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The essence of Virtual Culture lies in the |
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notion of cyberspace. In this context I might |
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define cyberspace as that frontier defined by |
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electronic communications towhich georaphy has |
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little or no relevance to being a member of the |
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group. If you regularly use a phone, modem, |
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fax, or networked computer terminal, |
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videophone, or interactive video, consider |
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yourself part of virtual culture. |
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|
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Technology is a key aspect of tomorrow's reality. Technology |
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seemingly provides the basis of all constructs we produce. |
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Virtual culture, then, is a giant leap forward for humankind in |
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terms of the way we approach ourselves as individuals, and the |
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nature of how we approach individuals in groups. Basic |
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sociological structures will eventually be realigned to conform |
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to this key evolutionary step as technology continues to |
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increase exponentially, thus forever expanding the limits of |
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virtual culture and therefore potential of all cultures. |
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Non-communicative technological forces will be mentioned |
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briefly throughout this writing, but the most interesting |
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applications of technology increasingly revolve around aspects |
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of communication. |
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|
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Psychedelic Culture - Arguably begun in the 60's, this subculture |
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------------------- revolves around the use and effects of |
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psycho-active drugs, particularly |
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psychedelics like LSD, to mainfest new |
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ideas, new ways of thinking, new ways |
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of approaching reality and |
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consciousness. |
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|
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One of the mysteries of modern day society is the nature of the |
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mind and consciousness. Psychedelic culture is vital in |
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exploring these areas. These areas in turn are vital to our |
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understanding of who and what we are as humans and the basic |
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philosophical questions homan have asked for centuries. |
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Recently, psychedelic culture has bubble-morphed with virtual |
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culture as seen in the potential exploration of the |
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technoligcal advancements of virtual reality as a means of |
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"opening the doors of perception". Here-and-now extrapolations |
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are evident in the use of "mind machines" as well as the |
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resurgance of 60's guru Timothy Leary as a spokesperson for |
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virtual reality. And need we mention the unbelievable |
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explosive return of LSD acros the US and other parts of the |
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world. |
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|
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Rave Culture - If you don't know what raves are, I will attempt to |
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------------ explain it, though with a parallel that will disturb |
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many ravers (myself included in the group of ravers |
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disturbed by the anology). Aforementioned |
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psychedelic culture reached a "peak" with the |
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community of Woodstock. Think of rave culture as |
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woodstock in the 90's, though wih obvious notable |
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advancements and progressions: smaller and more |
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specific communities allow for more woodstock-esque |
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events to occur more often and produce a higher |
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deree of community, the music reflects technology -- |
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techno music is the mainstay - music that may often |
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range between 0 and 160bpm that is almost entirely |
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created on computers and modern audio technology and |
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is an evolutionary mutation of disco music |
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generally, and finally, raves are often times |
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associated with psychedelic culture in a general |
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desire to create one's own reality or be part of |
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some sort of *gestalt-consciencous* event. And, |
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most importantly, the idea of raves is to have |
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fun!!! We most not overlook outlets of communal |
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entertainment in futureculture. At raves, the vibe |
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is generally happy and easy to catch, the people |
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generally fun, the music is cutting edge, and, if |
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you want, you can further entertain yourself with |
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nootropic or other psycho-active substances. |
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|
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Basically, raves are the entertainment aspect of the evolving |
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futureculture as it stands now. Undoubtedly raves will |
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eventually morph into something else, as this particular side |
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of culture rises and falls quickly in proportion with people's |
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day to day lives. Raves, as mentioned before, are deeply |
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intertwined with technology as well as some aspects of |
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psychedelic culture, thus their inclusion in futureculture. |
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|
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Cyberculture - This is a difficult culture to explain as it is still |
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------------ in its infancy, thus it is still comprised of |
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aspects of the varying other subcultures. I will |
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do my best to set it apart from other subcultures. |
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|
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Cyberculture is a here-and-now reality that grew |
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out of the science fiction movement of "cyberpunk". |
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Look at the word "cyberpunk" -- broken down you |
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have "cyber" and "punk" which roughly translates to |
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people using technology and information in ways |
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that deviate from the expected norms and mores and |
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laws of society. |
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|
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Hackers are part of cyberculture. I will draw more |
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criticism by defining a hacker as a "cyberpunk" -- |
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as previously stated, one who uses information and |
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technology in ways that go against the grain of |
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norm society. |
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|
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Let me put to rest an ageold debate that persists |
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among aspiring futureculturists, he said while |
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slowly walking backwards to the bomb shelter. |
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Hackers originated in the 60s, and basically did |
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they same things hackers do now, unly possibly with |
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less of a violent nature attached. Somewhere along |
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the line, those hackers gave up their |
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antiauthoritarian ideals and merged into mainstream |
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society, though they still wanted to be called |
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"hackers" because they can program a computer in |
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nifty ways. Modern-day hackers came along, the |
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WarGames generation, and the connection between |
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illegality (antiauthoritarianism rather) and |
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hackers resurfaced. Old hackers got pissed, and |
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have done their best to dissociate themselves from |
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the genreally-accepted term of modern day hacking. |
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This is most clearly seen in their attempt to |
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seperate "hackers" from "crackers" which I won't go |
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into because old hackers don't realise that |
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cracking is still hacking in the original true |
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sense -- it does take skill and requires privied |
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information. |
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|
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Hackers nowadays, post-Wargames hackers at least, |
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have as their motto "information wants to be free" |
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and thus that is their goal in hacking or, more |
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appropriately, being a cyberpunk. |
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|
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Cyberculture, at its roots, appropriates (samples) |
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heavily from other subcultures. This could be |
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easily guessed because of the inclusion of the |
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prefix "cyber", referring to information. In this |
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context I would like to see usage of the term |
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cyberculture return back to its roots -- the idea |
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of an information culture. That is, a culture |
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where information is an important commodity, if not |
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the most vital commodity. Information is an |
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important commodity in modern global culture, as |
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witnessed by the power and popularity and |
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prominence of CNN and Mtv in our society. When |
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people talk about an information society, they are |
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actually talking about cyberculture, and they are |
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actually talking about a soon-to-be historical |
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shift in society that is currently in it's infancy. |
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Contributions to this shift will be seen in the |
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wake of the ISDN (Integrated Services Digital |
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Network) and other such technologies as they become |
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more readily available and approachable to the |
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mainstream. |
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|
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We might say then, that cyberpunks (hackers, not |
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just computer hackers either) provide the deviant |
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portion of an existing cyberculture. Cyberculture |
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should *NOT* be confused with technoculture, new edge, |
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or futureculture, all of which will be put in the |
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proper context later. |
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|
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As I have said, cyberculture is in its infancy. We really |
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*don't* live in an information society, because economics, not |
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infomics or infonomics if you will, is the underlying thread |
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that holds our society together. However, this may be |
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beginning to change, as witness in our reliance on economic |
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credit systems (your credit is just information, which can be |
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hacked) as well as on a political scale the intertwining of |
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political, media, and international-conglomerate businesses as |
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the definite powerhouses. At the turn of the century, it was |
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basically just political forces. Post-WW-II, as postindustrial |
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society developed, it became politics + business which |
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continues to this day, but now media (information power) is a |
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substantial force in the global power game. |
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|
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Rudy Rucker, prominent writer and scientist, is credited with |
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the outstanding motto of cyberculture as a whole -- "How fast |
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are you? How dense?" The phrase should be examined in the |
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context of information processing, individuals dealing wth a |
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world that is transforming and morphing from economics-based to |
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infonomics-based. |
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|
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Industrial Culture - This is a misnomre, actually, since we |
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------------------ realistically live in a postindustrial |
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society. At any rate, industrial culture is |
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most noted for a musical movement. |
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Industrial music is highly technological, |
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though it has a definite rebellious spirit |
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that can easily be likened o the punk |
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movement of the late 70's. Thus, industrial |
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musicians could easily be considered |
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cyberpunks, and sometimes are. |
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|
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Industrial culture also consists of other |
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types of performance art other than music. |
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One notable inclusion is Survival Research |
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Laboratories, which builds robots, and |
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usually does strange things with them like |
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putting it inside a rabbit carcus and having |
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the rabbit carcuss walk around and fall into |
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an acid bath. Again, very cyberpunk. |
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|
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These postmodern industrialists are easily |
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seen as a byproduct of postindustrial |
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ziabatsus arising out of the sleek, slick, |
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greed-filled 80s and their never-ceasing |
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propagation, as seen in the motivations of an |
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indivudal like Michael Milken or a zaibatsu |
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like Sony. |
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|
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Again, technology is prominent in this subculture and by now |
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you are probably beginning to see the extent of the overlap |
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that occurs among these subcultures. The further you go, the |
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more indescribable as individual entities they become, thus the |
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need for a meta-subculture or meta-culture that encompasses the |
||||
important attributes. From here on out, then, the focus will |
||||
shift to smaller or more humanities-oriented topics. |
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|
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PostModernism - Postmodern art and philosophy arises out of the |
||||
------------- here-and-now state of our world as it has evolved |
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and changed, using WW-II as a reference point to |
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seperate modernism and postmodernism. In the |
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postmodern world, technology is prominent (tv, |
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radio, computer). Information is important (se |
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cybcerculture). Ideas are easily constructed and |
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deconstructed. Communication is more readily |
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accessible and is an artform in itself, witness |
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the popularity of appropriation (sampling) as seen |
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in industrial and hip-hop culture as well as the |
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works of writer Kathy Acker. Politically, |
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postmodernism acceps the reality of a |
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postindustrial world moving towards an |
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information-based world. |
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|
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Postmodernism is a tricky subject, and a parallel between |
||||
mentioning postmodernism can be drawn to the use of the word |
||||
"shaman" in psychedelic culture - overused, often misinformed, |
||||
often appropriated without true understanding. Postmodernism |
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has been around for some time now and stands on its own, thus |
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it is difficult to incorporate it in this context. We must at |
||||
least, however, acknowledge the fact that the threads of |
||||
postmodernism reality provide the basis for the evolving |
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futureculture, technoculture, and cyberculture. |
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|
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Street Culture - Primarily Afro-Centric because of the racism and |
||||
-------------- general inequality that exists in America |
||||
(specifically), the motto of street culture is |
||||
given to us by William Gibson: "the street |
||||
finds uses for itself". Thus, Street Culture can |
||||
often be considered D.I.Y. (Do It Yourself) culture. |
||||
Hip-Hop (Rap) music is a prime example of this. |
||||
Kids create singles in their basement (which is |
||||
also the case with rave music and industrial |
||||
music) and then market it themselves, or, better |
||||
yet, market *themselves*. Street fashion is |
||||
equally D.I.Y. -- small, sometimes local labels |
||||
that use postmodernism elements like |
||||
appropriation, also a key elemnt in street music. |
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For example, as I write this I am wearing a shirt |
||||
by a group called 26 Red. On the back, the shirt |
||||
has a picture of Charlie Tuna with the words |
||||
"Human Safe". This is copywright infringement, |
||||
but it is also appropriation and a realization of |
||||
the realities of pop culture and not being afraid |
||||
to apply them. Graffiti is street culture art, |
||||
as well. |
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|
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Street Culture is a product of a key shift in our postmodern |
||||
world, which could best be stated as a movement towards |
||||
individualization and specialization, hence the importance of |
||||
D.I.Y. aspects in futureculture. You can't wait for someone to |
||||
produce something to appease you, appease yourself instead. |
||||
Create your own art, your own clothes, your own music, your own |
||||
reality, your own manifesto, whatever.....Action is a *vital* |
||||
element in all of this. |
||||
|
||||
Fringe Science - The idea of hyperreality is very important in this |
||||
-------------- conglomeration of cultures. Hyperreality might |
||||
best be explained by looking at the realities of |
||||
the world that brought Rudy Rucker to make the |
||||
aforementioned statement "how fast are you? how |
||||
dense?" Our world is now moving very fast, and |
||||
is very dense. There is so much out there, that |
||||
people have come up with new ways of looking at |
||||
Why Things Are (tm) -- new explanations for new |
||||
realities. Cellular automata, chaos theory, |
||||
singularity, maybe even quantum theory. Time, |
||||
space, dimensions, reality, consciousness, life, |
||||
cybernetics, intellignece, artificial life, |
||||
subatomic realities, genetic mutations -- these |
||||
are a few of the fringe scientist's avorite |
||||
things. |
||||
|
||||
A lot of Fringe Science is an outgrowth of people involved to |
||||
some degree with psychedelic culture. That aspect, combined |
||||
with the fact that fringe science is "fringe" makes it less |
||||
valid to some minds. However, these scientists are the |
||||
post-Einstiens and should be loked at in that perspective. |
||||
|
||||
Technology is readily being accepted as a foundation of |
||||
humankind, and that belief continues to gain prominence in a world |
||||
technology increases exponentially. Witness the idea of an |
||||
information society -- that could not occur in a world where |
||||
technology and the desire to Make Something New (tm) plays second |
||||
fiddle. Technology in our world is rapidly surging us upward, to a |
||||
point where we are not even knowing What's Going On (tm). Witness |
||||
the out-and-out FEAR of people accepting the TRUTH that is outlined |
||||
in this writing, witness the fear of computers, the fear of hackers, |
||||
the fear of evolution, the fear of genetic engineering... Those of |
||||
us who are out there now LIVING this reality that's supposed to be |
||||
for the *future* have one thing in common - a DESIRE to explore the |
||||
unknown, to alter our realities, to alter ourselves and our lives, |
||||
and to alter our real lives ourselves. Simply said, we are morphing. |
||||
Constantly. On an individual, cultural, and global societal level. |
||||
Constantly. On a multitude of levels. Constantly. |
||||
|
||||
We live in a world full of infinite potential. Reality is what |
||||
we make it. This may sound like I'm speaking a small fringe special |
||||
interest grop, but that is not the case. I am speaking to every |
||||
living individual human being, especially those privelaged enough to |
||||
live in a postmodern postindustrial world filled with art and |
||||
technology, money and information, pop culture and subcultures. |
||||
|
||||
The future is now. That phrase is overused a lot, but in this |
||||
context I mean that our visions of the future, what we have written |
||||
about, fantasized about, our hopes and dreams of what will be -- the |
||||
seed of those realities exists NOW. |
||||
|
||||
In the linear flow of history, we found ourselves at an |
||||
important nexus in which linear seems much too confining when we live |
||||
in a technoculture that seems poised to greet an exponential model of |
||||
time with open arms. Here-and-now and tomorrow we are creating New |
||||
forums of communication, New philosophical schools, New art, New |
||||
politics, New technologies, New realities. |
||||
|
||||
In comprehending and dealing with these New realities, it is |
||||
important that we reshape our mindstyles NOW to adjust to constant an |
||||
consistent fast and dense change. It is no longer enough to say |
||||
"change is the only constant". |
||||
|
||||
We must try and keep as open a mind as possible: keep all |
||||
doors of perception open, prejudices of *any* sort will not meld (and |
||||
I don't mean prejudices only in the physical sense, of course -- I |
||||
mean in the mindstyle sense, the "faith" sense, the action sense, |
||||
etc.). An open mind, open to all ideas, all experiences, all people, |
||||
all communications, allows for a completely new transreal way of |
||||
looking at ourselves, our world, our realities. In that transreal |
||||
mindstyle we should constantly look and redefine ourselves and our |
||||
world if it is necessary. For example, we, as a technoculture, need |
||||
to transcribe *everything* we can via some means, whether it be via |
||||
computer netowkr, video or audio tape, pencil, etc. Everything from |
||||
the most individual moments to the most important global occurances. |
||||
It's not enough that we have I-Witness videos and America's Funniest |
||||
People and then CNN. Everything that's important and meaningful to |
||||
you and your life, record it in some fashion or another. This |
||||
recording allows you not only to better future generations by way of |
||||
sharing the past, but it allows you the potential of looking at |
||||
yourself in different lights, different angles (both literally and |
||||
figuratively depending on the means of recording). |
||||
|
||||
We should continue to develop the means and resources to |
||||
further the specialization and individualization of interactive |
||||
technologies and interactive communication forums. Basically, this |
||||
is just the idea that the more say each individual has in their |
||||
reality, the better. It ultimately promotes democracy and stronger |
||||
communities. For example, presidential candidate Ross Perot |
||||
mentioned "Electronic Town Halls", the Internet is a prime example of |
||||
specialization and individualization and interactivity, and more |
||||
specialized newspapers and magazines, etc., are also a good idea. |
||||
|
||||
Relative to a previously mentioned idea, we need to be more |
||||
open to change on every level, not only within our own personal |
||||
lives, but in small groups, subcultures, and societies. We need to |
||||
be able to deal with the exponential growth of communications in the |
||||
world, and to do that we are being forced to change a lot of |
||||
deeply-set ideals about the nature of communities, organizations, |
||||
etc. For example, dealing with this change might include saying |
||||
"Hey, we live in a system of representative government created 300 |
||||
years ago when travel was difficult and communication very slow. |
||||
Fairly soon we'll live in a world where everyone has some means of |
||||
interactive electronic communication in their home, whether it be |
||||
telephone or interactive-television or computer-network. On the |
||||
basis of travel and communication, therefor, is representative |
||||
government still a necessity?". On a more realisitc level, we must |
||||
own up to the fact that in a constantly changing envionment, |
||||
tradition for the sake of tradiition is futile and luaghable. If the |
||||
tradition does not serve well the current environment and has no |
||||
purpose, it should quickly be thrown out and changed. This idea |
||||
operates on every level, from dealing wih the national deficit, to |
||||
how you arrange your desk at work, to the nature of power structures |
||||
that govern the masses. |
||||
|
||||
These are not radical ideas, they are just an acknowledgment of |
||||
necessary changes in how we live our day to day lives, how we operate |
||||
on every level, from the individual all the way to the individual |
||||
planet. |
||||
|
||||
-- |
||||
|
||||
ahawks@nyx.cs.du.edu FutureCulture: In/f0rmation |
||||
ahawks@mindvox.phantom.com future-request@nyx.cs.du.edu |
||||
|
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