Escape Velocity (49 page)

38. Broken.

39. Kadrey and McCafifery, "Cyberpunk 101," p. 23.

40. William Gibson, "Johnny Mnemonic" in Burning Chrome, p. 5.

41. William Gibson, Neuromancer (New York: Ace, 1984), p. 148.

42. Larry McCaffery, "An Interview with William Gibson," in Storming the Keahty

Studio, p. 265.

43. Larry McCaffery, "Introduction: The Desert of the Real," in Storming the

Reality Studio, p. 12.

44. Bruce Sterling, preface to Mirrorshades: The Cyberpunk Anthology, ed. Bruce

Sterling (New York: Ace, 1988), p. xiii.

45. Lewis Shiner, "Inside the Movement: Past, Present, and Future," in Fiction

2000: Cyberpunk and the Future of Narrative, p. 21.

46. Rudy Rucker and Peter Lamborn Wilson, "Introduction: Strange Attractor(s),"

in Semiotext(e) SF, ed. Rudy Rucker, Peter Lamborn Wilson, and Robert Anton Wilson (Brooklyn: Autonomedia, 1989), p. 13.

47. Jude Milhon, "Coming In under the Radar," Mondo 2000, no. 7 (fall 1989), p. 100.

48. Ibid.

49. Takayuki Tatsumi, "Eye to Eye: An Interview with Bruce Sterling," Science

Fiction Eye 1, no. 1 (1987), p. 33.

50. Ibid., p. 35.

51. John Shirley, "About 'Fragments of an Exploded Heart,'" in prepublication

manuscript of The Exploded Heart (Asheville, N.C.: Eyeball Books, 1994), pagination not yet complete as of this writing.

52. Michael Moorcock, The Final Programme, in The Cornehus Chronicles (New

York: Avon, 1977), p. 65.

53. Moorcock, A Curejor Cancer, in The Cornelius Chronicles, pp. 414-15.

54. Tatsumi, "Eye to Eye," p. 36.

55. John Shirley, Transmaniacon, p. 15.

56. Ibid., pp. 14, 33.

57. Ibid., p. 33.

58. Ibid., p. 34.

59. Ibid., p. 33.

60. Sterling, preface to Mirrorshades, p. xii.

61. Ibid., p. xiii.

62. Ken Tucker, "Rock in the Video Age," in Rock of Ages: The Rolling Stone History

oJRock SlRoII (New York: Summit Books, 1986), p. 595.

63. Mark Crispin Miller, "Where All the Flowers Went," in Boxed In: The Culture of

7K(Evanston, 111.: Northwestern University Press, 1989), p. 174.

64. Andrew Goodwin, Dancing in the Distraction Factory: Music Television and Popular

Cuhure (Minneapolis: University of Minnesota Press, 1992), p. 185.

Notes 335

65. Miller, "Where Flowers Went," p. 181.

66. Miller, afterword to "Rock Music: A Success Story," in Boxed In, p. 196.

67. Miller, "Where Flowers Went," p. 181.

68. Miller, afterword to "A Success Story," p. 200.

69. Goodwin, Distraction Factory, pp. 154-55.

70. Sterling, preface to Mirrorshades, p. xii.

71. Cadigan, "Rock On," in Mirrorshades, p. 42.

72. Ibid., p. 39.

73. Ibid.,pp. 36, 37, 42.

74. Ibid., p. 42.

75. McCaffery, "Introduction: The Desert of the Real," in Storming the Keahty

Studio, p. 6.

76. Anthony DeCurtis, Present Tense: Rock &^ Roll and Culture, ed. Anthony

DeCurtis (Durham, N.C.: Duke University Press, 1992), p. 5.

77. John Shirley, "Freezone," in Mirrorshades, p. 148; all other quotes this para-

graph, p. 145.

78. Ibid., pp. 145-46.

79. Ibid.

80. Ibid.

81. Ibid., p. 154.

82. Ibid., p. 157.

83. Ibid., p. 146.

84. Norman Spinrad, Little Heroes (New York: Bantam Spectra, 1987), p. 4.

85. Ibid., pp. 4, 7.

86. Ibid., p. 4.

87. Ibid., unnumbered page.

88. Ibid., p. 7.

89. Ibid., p. 8.

90. Ibid., p. 11.

91. Sterling, preface to Mirrorshades, p. xiv.

92. Jon Savage, England's Dreaming: Anarchy, Sex Pistols, Punk Rock and Beyond

(New York: St. Martin's Press, 1992), p. 133.

93. Sterling, preface to Mirrorshades, pp. x-xi.

94. Goodwin, Distraction Factory, p. 31.

95. Norman Spinrad, Science Fiction in the Real World (Carbondale and Ed-

wardsville. 111: Southern Illinois University Press, 1990), pp. 113-14.

96. Ibid., p. 113.

97. Ibid., p. 116.

98. William Gibson, interviewed by Terry Gross on Fresh Air, National Public Radio, August 31, 1993.

Chapter 3

1. The germ of the idea for this chapter appeared as a feature, "The Art of Crash,

Hum, and Hiss," in the New York Times, March 15, 1992, Arts & Leisure section, p. 12.

2. Rob Hafernik, "Robofest II: Austin, Texas," in Mondo 2000, no. 5, p. 18.

3. Glenn Rifkin, "Making Robot Gladiators," New York Times, July 31,1994, p. 8F.

4. ReAearch 6/7; Industrial Culture Handbook, ed. Andrea Juno and V. Vale (San

Francisco: Re/Search, 1983), pp. 28-29.

5. K. W. Jeter, Dr. Adder (New York: Signet, 1988), p. 70.

6. Marshall McLuhan, "The Gadget Lover: Narcissus as Narcosis," in Understand-

ing Media: The Extensions of Man (New York: Signet, 1964), pp. 55-56.

7. Ibid., p. 56.

8. Manuel De Landa, War in the Age of InteUigent Machines (New York: Zone

Books, 1991), p. 3.

9. ReAearch 11: Pranks! ed. Andrea Juno and V. Vale (San Francisco: Re/Search,

1987), p. 13.

10. Ibid.

11. Ibid., pp. 13-14.

12. It should be noted that Frankensteinish fabrications such as the Mummy-Go-

Round and the Piggly-Wiggly make use of dead animals purchased from slaughterhouses or scavenged from train tunnels. The Mummy-Go-Round, for example, resulted from an amphetamine-addled friend's ravings about a macabre stretch of Pacific Railway tunnel he had stumbled on during one of his late-night rambles. Pauline and Heckert decided to investigate and returned in high spirits with a sack full of mummified animals. SRL's organic robots are featured, along with their heavy metal brethren, in an extensive selection of videotapes, available from SRL, 1458-C San Bruno Ave., San Francisco, Calif 94110.

13. Howard Rheingold, Virtual Reality (New York: Summit Books, 1991),

pp. 254-55.

14. John A. Barry, Technobabble (Cambridge, Mass.: MIT Press, 1991), p. 185.

15. John R. Mac Arthur, Second Front: Censorship and Propaganda in the Gulf War

(New York: Hill & Wang, 1992), p. 161.

Notes 337

16. Quoted by Judith A. Adams, in The American Amusement Park Industry: A

History of Technology and Thrills (Boston: Twayne Publishers, 1991), p. 93.

17. Howard Millman, "Risky Business," Compute, July 1991, p. 88.

18. Margaret Cheney, Tesla: Man Out of Time (New York: Dell, 1981), p. 129. See

illustrations as well.

19. Quoted by Frank Barnaby, in The Automated Battlefield (New York: The Free

Press, 1986), p. 1.

20. Quoted by Lewis Yablonsky, in Robopaths: People as Machines (Baltimore, Md.:

Penguin, 1972), p. xii.

21. Georges Bataille, Erotism: Death and Sensuality (San Francisco: City Lights,

1986), p. 15.

22. Claudia Springer, "Sex, Memories and Angry Women," Flame Wars: The

Discourse ofCyberculture /South Atlantic Quarterly vol. 92, no. 4 (fall 1993), p. 718.

23. William Burroughs, The Ticket That Exploded (New York: Grove Press, 1968),

p. 52.

24. Ibid., p. 53.

25. Bataille, Erotism, p. 18.

26. Georges Bataille, "Sacrificial Mutilation and the Severed Ear of Vincent Van

Gogh," in Visions of Excess: Selected Writings of Georges Bataille, ed. Allan Stoekl (Minneapolis: University of Minnesota Press, 1985), p. 70.

27. Seymour Melman, "The Juggernaut: Military State Capitalism," The Nation

252, no. 19 (May 20, 1991), p. 666.

28. Kathe Burkhart, "Extremely Cool Practices," High Performance, no. 32,

pp. 66-67.

29. Ehzabeth Richardson, "The Mechanisms of Machismo," Artweek 16, no. 30

(September 21, 1985), p. 4.

30. Jim Pomeroy, "Black Box S-Thetix: Labor, Research, and Survival in the

He[Art] of the Beast," in Technoculture, ed. Constance Penley and Andrew Ross (Minneapolis: University of Minnesota Press, 1991), pp. 292-93.

31. This debt, while acknowledged, has never been repaid, notes Pauline. "The

creators o^Hardware made no attempt to contact me for permission to use the SRL video footage featured in the film and refused to make any payment after the film's release," he writes, in an August 31, 1993, fax to the author. "When pressed, Miramax, the film's U.S. distributor, threatened a lengthy and expensive legal battle which, due to my lack of a Swiss bank account, I declined to engage in."

32. Yablonsky, Robopaths, p. 7.

33. Guy Trebay, "Machine Dreams: Survival Research Laboratories' Heavy Metal,"

Village Voice, May 24, 1988, p. 20.

34. Calvin Ahlgren, "Robot Olympics Gets Dov^^n to Nuts and Bolts: Performance

Artist Puts Iron Men on Display," San Francisco Chronicle, September 10, 1989, p. 28.

35. Harry Moss, "The Adventures of a Metalman: Robots Take Over the Palace,"

The City, October 1990, p. 29.

36. An early draft of Rex Everything's '^Negativland Presents the Rex Everything

Guides, Vol. 1: Disneyland" (forthcoming from Concord, Calif: Seeland Media) proved an invaluable, not to mention hilarious, resource in the writing of this section.

37. Michel Foucault, Discipline and Punish: The Birth of the Prison (New York:

Vintage, 1979), p. 136.

38. Ibid.

39. Samuel Haber, Efficiency and Uplift, quoted in Stuart Ewen, Captains of

Consciousness (New York: McGraw-Hill, 1976), pp. 105-6.

40. Feature article, Tri-City Labor Review (Rock Island, 111., April 13, 1932), quoted

in Ewen, Captains of Consciousness, p. 11.

41. Quoted in Ellen Lupton and J. Abbott Miller, "Hygiene, Cuisine and the

Product World of Early Twentieth-Century America," in Zone 6: Incorporations, ed. Jonathan Crary and Sanford Kwinter (New York: Zone, 1992), p. 504.

42. Ewen, Captains of Consciousness, p. 19.

43. Mike Kelley, "Mekanik Destruktiv Kommandoh: Survival Research Lab-

oratories and Popular Spectacle," Parkett, no. 22 (September 1989), p. 127.

44. Ibid.

45. Scott Bukatman, "There's Always Tomorrowland: Disney and the Hyper-

cinematic Experience," October, no. 57 (summer 1991), pp. 63-64.

46. Isaac Asimov, The Rest of the Robots (New York: Pyramid Books, 1964),

p. 11.

47. Frederik L. Schodt, Inside the Robot Kingdom: Japan, Mechatronics, and the

Coming Robotopia (New York: Kodansha, 1988), p. 163.

48. John G. Fuller, "Death By Robot," Omni, March 1984, p. 102.

49. Andrew Ross, Strange Weather: Culture, Science and Technology in the Age of

Limits (New York: Verso, 1991), p. 95.

50. Jon Palfreman and Doron Swade, The Dream Machine: Exploring the Computer

Age (London: BBC Books, 1991), pp. 179-80.

Notes 339

51. Umberto Eco, Travels in Hyperreality (New York: Harcourt Brace Jovanovich,

1986), pp. 47-48.

52. Mark Pauline, "Technology and the Irrational," in Ars Electronica/Bandll/

Virtuelle Welten, ed. Gottfried Hattinger, Morgan Russell, Christine Schopf, Peter Weibel (Linz, Austria: Ars Electronica Festival for Art, Technology and Society, 1990), p. 232.

53. Kevin Kelly, Out of Control: The Rise of Neo-Biological Civilization (Reading,

Mass.: Addison-Wesley, 1994), p. 32.

54. Quoted in Rex Everything, "Disneyland," p. 115.

55. Judith A. Adams, Amusement Park, p. 45.

56. Jane Kuenz, "It's a Small World After All: Disney and the Pleasures of

Identification," The World According to Disney/South Atlantic Quarterly ed. Susan Willis, vol. 92, no. 1 (winter 1993), p. 71.

57. Adams, Amusement Park, p. 56.

58. Mark Pauline, in the unpublished introduction to his press packet.

Chapter 4

1. Bruce Sterling, Crystal Express (New York: Ace Books, 1990), p. 25.

2. Quoted from an archival videotape of Stelarc's lecture "Remote Gestures /

Obsolute Desires," at the Kitchen Center for Video, Music, Dance, Performance, Film and Literature, New York, March 9, 1993.

3. Marshall McLuhan and Quentin Fiore, The Medium Is the Massage: An Inventory

of Effects (New York: Bantam, 1967), p. 41.

4. Stelarc, "Strategies and Trajectories," Obsolete Body /Suspensions /Stelarc, ed.

James D. Paffrath with Stelarc (Davis, Calif.: JP Publications, 1984), p. 76.

5. J. E. Cirlot, A Dictionary of Symbols, trans. Jack Sage, 2d ed. (New York: Dorset

Press, 1971), p. 199.

6. John Shirley, "SF Alternatives, Part One: Stelarc and the New Reality," Science

Fiction Eye 1, no. 2 (August 1987), pp. 57, 61.

7. Ibid., p. 59.

8. Stelarc, "Beyond the Body: Amplified Body, Laser Eyes & Third Hand,"

undated essay accompanying a performance at the Yokohama International School in Japan, p. 28.

9. Stelarc, press release for a performance of "Remote Gestures/Obsolete De-

sires: Event for Amplified Body, Involuntary Arm, and Third Hand" at the Kitchen, New York, March 12 and 13, 1993.

10. Simon Bainbridge, "The Body Is Obsolete," The Crack, no. 30 (December

1991), p. 75.

11. Quoted in Linda Frye Burnham, "Performance Art in Southern California: An

Overview," in Performance Anthology: Sourcebookjor a Decade ofCahJornia Performance Art, ed. Carl E. Loeffler and Darlene Tong (San Francisco: Contemporary Arts Press, 1980), p. 399.

12. Thomas McEvilley, "Redirecting the Gaze," in Making Their Mark: Women

Artists Move into the Mainstream, 1970-85, ed. Randy Rosen and Catherine C. Brawler (New York: Abbeville Press, 1989), p. 193.

13. Quoted in Judith E. Stein, "Making Their Mark," p. 134.

14. Interviewed in Re/Search 13: Angry Women (San Francisco: Re/Search, 1991), p. 77. 1 5. Quoted in Paul McCarthy, "The Body Obsolete," High Performance, no. 24