I am a big fan of both, but I think what's missing in reality, but in their fiction (and cyberpunk fiction in general) is a sense of coolness and caring about aesthetics. For all the evil that the mega corporations do in a Gibson novel, they still have an aesthetic appeal.
Real-world corporations aren't that interesting. Amazon, Facebook, or Google have nothing "culturally" or aesthetically on Hosaka, Arasaka or Sense/Net.
Which is really the tragedy of it all: we are getting the cyberpunk dystopia with none of the aesthetics that have made it a household word.
The unevenly distributed future is a William Gibson thing.
A couple months back I had at a Chinese place in the western parts of Dublin (Ireland) and we could see the operating base of the Mana food delivery drones. Ireland was never known to get early issues of whatever the current dystopian future is being distributed, so it was an interesting sight - drones autonomously locating landing platforms and waiting to be loaded, and then launching to their next delivery.
I can't see the dystopian music of John Foxx's Ultravox! (or Gary Numan for that matter) without seeing it through the Ballard/Crash Zeitgeist of the "New Romantics".
(Although I see now that "Crash" was published first in 1973—wow.)
Another thing they got right was the merger of governments, large corporations, finance, intelligence agencies, and globalized organized crime into one big sprawling mass of Machiavellian nihilists scheming for power. None of these people really believe in anything, though sometimes they pretend to as part of some power play.
Gibson in particular nails this, especially in his original Sprawl trilogy. This sprawling mass is what he calls "biz." It's "just biz."
I sometimes wonder what's really happening here. Maybe with our large scale and large population we have exceeded Dunbar's number and the individual human cognitive "context window" so much that coherent social systems are no longer sustainable. Any kind of principle, rule of law, or sense of national or cultural identity requires that coherence. Without it the system dissolves into this random churning stew of scheming, money, and power.
On a personal level it means you have to find these things in your personal life and the family and community you build around you, and you should not look for or expect these things from larger scale social structures. They can't deliver them, and the reasons might not just be "corruption" or "people are assholes." They might not be able to deliver them because we have exceeded the scale on which human social structures can coherently operate.
Gibson depicts this too. His world of the Sprawl was bleak but there were pockets of people who had created what amounted to intentional communities within it. I'm thinking of the Afro-American-futurist arcologies in Count Zero or the orbital subcultures like the Rastafarians. Some of the subculture around the "console cowboys" also counts.
EDIT:
Another gigantic correct prediction of Gibson that nobody remembers is that he predicted that the AIs would make art. As far as I know he's the only one to predict this. The usual depiction of AI in pretty much all other sci-fi was as only logical, whether benevolent (Lt. Cdr Data, Enterprise's AI, droids in Star Wars) or malevolent (Colossus, Skynet, Dune's prehistory).
> Another gigantic correct prediction of Gibson that nobody remembers is that he predicted that the AIs would make art. As far as I know he's the only one to predict this. The usual depiction of AI in pretty much all other sci-fi was as only logical, whether benevolent (Lt. Cdr Data
> I sometimes wonder what's really happening here. Maybe with our large scale and large population we have exceeded Dunbar's number and the individual human cognitive "context window" so much that coherent social systems are no longer sustainable.
I think we might just not have run out of money yet.
A lot of debt (social, structural, technical, financial, cultural, etc) is going to hit us like a freight train if AI turns out to not be the magic cure people desperately hope it is going to be.
The power of "the biz" rests on cash not running out. Certainly not on loyalty of the workers.
Yeah it's really amazing how prescient these books are given when they were written. I wish I enjoyed them more, I'm reading Mona Lisa Overdrive now and other than intellectual admiration of it all I mostly find the Sprawl trilogy a chore to get through. I don't enjoy the prose, and how dense it is I guess cause I am not a careful reader.
Sprawl is where he originally started exploring these ideas but Jackpot is where he really focused deep into them and it's even more prescient. It's also bleaker, he has clearly recalibrated his estimate of how much power and control these new entities will have. Unfortunately I think it's a better representation of the path we're on.
Real-world corporations aren't that interesting. Amazon, Facebook, or Google have nothing "culturally" or aesthetically on Hosaka, Arasaka or Sense/Net.
Which is really the tragedy of it all: we are getting the cyberpunk dystopia with none of the aesthetics that have made it a household word.
They may not be aesthetics you find cool, but clearly they appeal to a large number of others.
Arasaka types are rare, it’s mostly big blobs like DatAmerica.
A couple months back I had at a Chinese place in the western parts of Dublin (Ireland) and we could see the operating base of the Mana food delivery drones. Ireland was never known to get early issues of whatever the current dystopian future is being distributed, so it was an interesting sight - drones autonomously locating landing platforms and waiting to be loaded, and then launching to their next delivery.
I'm convinced it was the similarity of their names which convinced Jean to read J.G's work.
I can't see the dystopian music of John Foxx's Ultravox! (or Gary Numan for that matter) without seeing it through the Ballard/Crash Zeitgeist of the "New Romantics".
(Although I see now that "Crash" was published first in 1973—wow.)
Gibson in particular nails this, especially in his original Sprawl trilogy. This sprawling mass is what he calls "biz." It's "just biz."
I sometimes wonder what's really happening here. Maybe with our large scale and large population we have exceeded Dunbar's number and the individual human cognitive "context window" so much that coherent social systems are no longer sustainable. Any kind of principle, rule of law, or sense of national or cultural identity requires that coherence. Without it the system dissolves into this random churning stew of scheming, money, and power.
On a personal level it means you have to find these things in your personal life and the family and community you build around you, and you should not look for or expect these things from larger scale social structures. They can't deliver them, and the reasons might not just be "corruption" or "people are assholes." They might not be able to deliver them because we have exceeded the scale on which human social structures can coherently operate.
Gibson depicts this too. His world of the Sprawl was bleak but there were pockets of people who had created what amounted to intentional communities within it. I'm thinking of the Afro-American-futurist arcologies in Count Zero or the orbital subcultures like the Rastafarians. Some of the subculture around the "console cowboys" also counts.
EDIT:
Another gigantic correct prediction of Gibson that nobody remembers is that he predicted that the AIs would make art. As far as I know he's the only one to predict this. The usual depiction of AI in pretty much all other sci-fi was as only logical, whether benevolent (Lt. Cdr Data, Enterprise's AI, droids in Star Wars) or malevolent (Colossus, Skynet, Dune's prehistory).
Data painted and performed music: https://memory-alpha.fandom.com/wiki/Data#The_arts
To be fair, his motivation was to become more human. But at least he did have intrinsic motivations that didn’t appear to come from some training.
Another example that long predates Gibson is Kurt Vonnegut’s EPICAC: https://en.wikipedia.org/wiki/EPICAC_(short_story)
I think we might just not have run out of money yet. A lot of debt (social, structural, technical, financial, cultural, etc) is going to hit us like a freight train if AI turns out to not be the magic cure people desperately hope it is going to be.
The power of "the biz" rests on cash not running out. Certainly not on loyalty of the workers.
Sounds suspiciously like a convenient story to me without the caveat "within this particular brand of politics and socioeconomics".