Longreads + Open Thread

Robinhood, Anthropic, Incentives, More Anthropic, College, Wealth, Risk, Count Zero

Longreads

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Books

Count Zero: William Gibson wrote the science fiction classic Neuromancer on a typerwriter, and started Count Zero the same way. But the typewriter broke and so he bought an Apple II. Which makes Gibson, the guy, a character most often seen in fantasy rather than science fiction: a wise man who is both disconnected from society and scarily prescient when he predicts what will happen to it.

The book was written in the mid-80s, and there are little details that basically feel like how someone who'd gone into a coma then and just woken up would try to explain the way we live now. One of the characters uses a device described as "a rectangle of black mirror, edged in gold," but it's not a smartphone, it's a "credit chip." But if the first time you saw an iPhone was when someone tapped to pay, ad you were thinking in 80s technology terms, you might be impressed that they'd managed to fit all the logic, data storage, and battery necessary for a handheld payment device into something as small as an iPhone. Later on, a character puts on what sounds suspiciously like an airpod (a "speaker bead") to have a conversation. There's even a scene where one of the characters has a video call that uses what's basically a Zoom background!

In the book, AI exists, and it's somehow roughly similar to what we think of as AGI and far less relevant to Gibson's fictional world than current AI is to ours. It would be insane to fault Gibson for getting that wrong, in that his descriptions of console cowboys hacking through ice in the metaverse could easily be read as poetic descriptions of a black-hat hacker using an LLM to find their way around whatever defenses CrowdStrike has put up. Even if you could imagine that computers would exhibit the traits we associate with intelligence, you could still get the wrong idea by thinking of it as a human-like thread of consciousness, rather than on-demand sparks of intelligence available at different quality levels. (If you wanted to predict what that would be like, you'd want to read fantasy rather than science fiction: it's like a warlock summoning a familiar or demon to ask it a question, and then banishing it back into the void after getting an answer.)

Like many futures imagined from the vantage point of the 1980s, he assumes that the average American would have way more interactions with Japanese companies, investors, bosses, etc. than actually takes place. It's pretty reasonable for science fiction writers to take some high-salience trend and extrapolate it, rather than having to come up with some theory for why the trend reversed. (On the other hand, Gibson alludes to a Russian businessman at one point, implying that he did have a view on which way the Eastern Bloc was headed.)

That's a lot of the fun of these books: there's a definite vision of the future, some of it turned out to be factual, some of it didn't extrapolate far enough, and some overestimated how much progress we'd make. Gibson is probably disappointed that we're still wearing similar outfits made out of materials that people in the 80s would have recognized, but that's partly because Gibson really likes writing about textures and materials. Plenty of people write about how the future would look different, but Gibson is able to worldbuild more by imagining how it would feel.

In the 2000s, Gibson got tired of writing science fiction and started writing books set a few months before their publication date. The nice thing about good science fiction is that if you wait long enough, it becomes a sci-fi story about a slightly tweaked version of the recent past, too.

Open Thread

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