In Europe, we knew that the Nazis never really went away. But we never used to put them on mainstream fucking television. We never used to stick them on cable news and ask them for their fucking opinions. When you can open the Overton Window and march a few thousand fascists through it, then it’s time for agitprop.
Warren Ellis. Take up your pens and paper, comrades.
It’s done. Still gotta defend it at the viva, but it’s done.
So, who fancies giving me a job, eh?
Computer scientists have an aphorism that describes how algorithms relentlessly hunt for patterns: they talk about torturing the data until it confesses. Yet this metaphor contains unexamined implications. Data, like victims of torture, tells its interrogator what it wants to hear.
Franklin Foer. Pattern recognition has become pattern imposition.
I think of the Gartner Hype Cycle as a Hero’s Journey for technologies. And just like the hero’s journey, the Hype Cycle is a compelling narrative structure. When we consider many of the technologies in use today, we tend to recall that they were overhyped when they first arrived, but eventually found their way to mainstream usage. But … is that really how technologies emerge and gain adoption? After analyzing every Gartner Hype Cycle for Emerging Technology from 2000 to 2016 – all seventeen years of the post dotcom era – I’ve come to believe that the median technology doesn’t obey the Hype Cycle. We only think it does because when we recollect how technologies emerge, we’re subject to cognitive biases that distort our recollection of the past…
I normally wouldn’t link out to L*nkedIn, but on this occasion it’s worth it: a bona fide hi-tech vencap who, after crunching the actual data, reveals that technology forecasting is about as scientific as cosmic ordering, and arguably even less effective.
Not at all incidentally, the Hero’s Journey is ubiquitous in the narratives of innovation studies and corporate foresight, and dominates the discourse in sociotechnical systems research. To quote briefly from my (very nearly finished) thesis, on the matter of the innovation model known as the Multi-Level Perspective:
… the MLP is, in effect, a generic story-form that relies on pre-established permutations of certain archetypal characters, set-
tings and events. Much as with an airport thriller novel or superhero movie, you always end up with the same basic arc of plot: in the case of the MLP, that generic story is known as “transition”, and it follows the journey of a hopeful young innovation on its adventures through the sociotechnical landscape, struggling against the incumbent regime until it finally achieves the “market dominance” which was its destiny and birthright.
In other words, every new gadget is Frodo, setting out to disrupt the oppressive sociotechnical hegemon of Sauron. The corollary is that every “change agent” and “innovator” sees themselves as bloody Gandalf.
If sci-fi convincingly simulates another world, it gives the reader ways of imagining our world otherwise. Science fiction is more, not less, “realist” than literary fiction. It does not produce the fiction of a severed part of a world, as if the rest was predictable from the part. It produces a fiction of a whole different world as real.
McKenzie Wark [responds to/riffs on/critiques] Amitav Ghosh.