Cyberpunk: The Human Condition amid High-tech Alienation and Urban Dystopia

By Raymond Lam

Source: BuddhistDoor.net

I love the seashore and the countryside, but I have spent most of my life in cities, with little to no time spent in the country. I grew up in Brisbane, Australia (which, despite its beauty and vibrant coffee culture, is hardly a skyscraper metropolis) and have spent a good deal of time in Hong Kong. Over the years I have visited Shanghai, Tokyo, and Seoul—cities that have long inspired novelists and artists in cyberpunk circles.

Cyberpunk features “technologized” cities with endless skyscrapers shimmering in an ocean of neon lights and elevated railways. These cityscapes are often bathed in darkness, shadow, and rain. More often than not, the protagonists of these stories are lone-wolf types, running through grungy alleys and estranged from wider society. As a genre of writing, film, and animation, the dystopian cyberpunk imagination has been immensely influential in both Asian and Western pop culture, exemplified by the Blade Runner movies, The Matrix franchise, and the Japanese anime Ghost in the Shell.

To many social commentators, cyberpunk carries eerie reminders of certain characteristics of urban living today—an endless feed of information, insecurity, and distractions through the Internet and social media, the press and media serving as distractions or brainwashing rather than useful information, and social alienation and unfulfilling work. In these activities is an almost gleeful dismissiveness of the need to reflect on human nature and what it means to be a human being: a key concern of religions and philosophical schools through the ages.

As Buddhistdoor Global columnist Paola Di Maio notes about our headlong trajectory into developing communication between human beings and AI: “Excited at the prospect of scientific advances, researchers seem to ignore that enhanced cognition comes with enhanced responsibility, maturity, and responsible decision-making abilities.” This is the key concern and, as it happens, the idea of human interface with computers or “mind technologies” is about as cyberpunk as it gets.

There are far more informed writers who have unpacked the themes of cyberpunk exhaustively, but I find this description particularly useful for grasping the general aesthetic and spirit. This is from an essay by Lawrence Person: “Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.” (Slashdot.org) Surely many of these themes sound familiar?

The eminent science fiction writer J. G. Ballard (1930–2009) defied assumptions about traditional storytelling and sought to upend the archetypes that were assumed to be universal, saying that he wanted a storytelling style that possessed “more psycho-literary ideas, more meta-biological and meta-chemical concepts, private time systems, synthetic psychologies and space-times, more of the sombre half-worlds one glimpses in the paintings of schizophrenics.” (Ballard 2017, 103) Most interestingly, Ballard criticized the “external” emphasis of so much science fiction of his day (such as on space travel), declaring: “The biggest developments of the immediate future will take place, not on the Moon or Mars, but on Earth, and it is inner space, not outer, that needs to be explored. The only truly alien planet is Earth.” (Ballard 2017, 103)

My opinion is that good cyberpunk is itself a kind of literary expression of contemporary inner preoccupations and concerns. Take the notion of loneliness, for example. Some good research has been done about urban life and its correlation with loneliness, but the results are ambiguous. One study found that urban life is undoubtedly more stressful than rural life (and has been so since the Industrial Revolution), yet how lonely one feels is a very difficult thing to measure. If we are to take seriously Ballard’s notion that the best kind of science fiction is about inner space, then perhaps we have also been distracted by the neon cityscapes of gritty cyberpunk metropolises.

The interesting stuff is not happening in an action-packed helipad gunfight with a hypersonic jet on top of a tower owned by a futuristic robotics corporation. It is happening in the neurotic mind of one of that corporation’s low-level office workers, humiliated in public through a thoughtless social media post by her supervisor, who himself seeks distraction from his instantly replaceable managerial role by interfacing his brain with a computer’s pornographic VR program. It is not just about cybernetics and the development of androids, but how society changes as a result of them.

I like to think that, perhaps one day in the future, when meditation practice centers are hidden away in glass and metal skyscrapers—some of them already are in the worlds biggest cities—and temples of traditional Asian design are surrounded by looming corporate structures, these loci of spiritual meaning and truly human work will have helped to fortify the inner worlds of these cities’ denizens against the darker side of cyberpunk. Ballard was right. The true struggle for meaning and dignity is more often on the inside, even in a society dominated by neon, nightfall, and neuro-computers.

References

Ballard, J. G. 2017. “Which way to inner space?” In Science Fiction Criticism: An Anthology of Essential Writings. Edited by Rob Latham. London and New York: Bloomsbury.

Saturday Matinee: High Rise

“High Rise” (2015) is a British dystopian film directed by Ben Wheatley and based on a novel of the same name by J.G. Ballard. The film is set in luxury tower in a 1970s version of the future. The building houses all the conveniences of modern life, giving inhabitants the delusion of self-sufficiency as they become increasingly insular and detached from the outside world. Unfortunately the building is faulty and as the the infrastructure gradually collapses, social pressures among residents approach a breaking point. Truly a metaphor for our times.

Watch the full film here.

Right to Burn

Free-market economics gives the poor equal rights to substandard housing

 By Siddhartha Deb

Source: The Baffler

At the very end of the film High-Rise, Ben Wheatley’s 2015 adaptation of J.G. Ballard’s novel from the seventies, we hear a familiar authoritarian voice extolling the virtues of capitalism. Against the backdrop of the high-rise building that is in many ways the protagonist of the film, the camera closes in on a young boy sitting on a jerry-rigged structure made up of discarded tires, a golf bag, a hockey stick, and a profusion of wires that have allowed him to tune in to the wisdom of Margaret Thatcher. “There is only one economic system in the world, and that is capitalism,” Thatcher says, and the only remaining argument is whether this is to be a form of state capitalism, “where there will never be political freedom,” or if capitalism is to be “in the hands of people outside State control.”

The fire last month that killed eighty people in Grenfell Tower, a twenty-four-story high-rise for low-income, mostly minority Londoners, is a stark example of what that Thatcherite vision looks like when carried out to its logical extreme. Built in the seventies in what can now be seen as the last great wave of public housing in Britain, a trend that started under the post-war Labour Government with the New Towns Act of 1946, Grenfell Tower steadily came under assault from the market forces unleashed by Thatcher. Located in London’s wealthiest borough of Kensington and Chelsea, the upkeep of the building was outsourced by the borough council to the ingeniously named Kensington and Chelsea Tenants Management Organisation, a body that steadfastly ignored, and sometimes used lawyers to threaten, tenants protesting about safety concerns.

The cladding newly installed on the exterior, apparently more for the purpose of making the building appear attractive to private buyers of available units than for reasons of maintenance, was found to be highly flammable and responsible for spreading the fire throughout the building. Other “refurbishment” work left the building with just one staircase and exit, and that too partially blocked. In the aftermath of the fire, when the Conservative party prime minister Theresa May visited the site to talk to members of the emergency services, she avoided meeting residents of the building. The borough council, meanwhile, at first refused to admit residents and media into its “public” meeting. Then, when ordered by a court to allow the media to attend its proceedings, it cancelled a scheduled session.

When Ballard’s novel was published in 1975, Thatcher was merely a rising star in the Conservative Party, still four years away from occupying 10 Downing Street. From there, she would go on to use every lever of the state to promote her vision of state-less capitalism, a ferocious ideology of elite self-interest that would ravage Britain and, promoted across the Atlantic by her American counterpart Ronald Reagan, blight the United States. Given a massive boost by the end of the Cold War, this worldview received regular technocratic updates from the Anglo-American leaders who succeeded Thatcher and Reagan, the old piss always managing to find new bottles—Tony Blair’s New Labour, Bill Clinton’s New Democrats, George Bush’s New American Century and so on, all the way to Barack Obama and David Cameron until we reach what now looks like the terminal point of that blight, the endgame of Theresa May and Donald Trump.

The rhetoric of neoliberalism was that, with a market society taking root in Britain and the United States, the model could be exported to the world at large. Grenfell Tower shows, instead, that it meant turning Britain, the so-called home of free markets and democracy, into a banana republic. The same could be said of the United States, where crises in infrastructure show a similar trajectory, including in the cost-cutting measures that led to the presence of lead and other toxins in the drinking water of Flint, Michigan, in the very town that, as portrayed by Michael Moore in the documentary Roger and Me, was once home of the nation’s largest General Motors plant.

In London, this transformation was achieved, by successive Conservative governments as well as by Blairite New Labour types, through a relentless stripping away of public housing in favor of private residences for the extremely wealthy. Thatcher, in 1979, had introduced “Right to Buy,” allowing tenants in public housing to buy their units at discounts of up to 50 percent. Initially reluctant at the idea of providing a state subsidy to buyers, and nudged into the populist move by other Conservative politicians, Thatcher was nevertheless the one who endowed Right to Buy with an aspirational flavor that everyone could become middle class. The buyers, however, tended to be the most well-off among the tenants, and although the units were initially meant to be lived in, they were eventually often sold at market rates to private landlords, in effect a privatization carried out with the help of public money. It is a process similar to what has happened to Mitchell-Lama housing in New York as buildings have steadily been acquired by private investors, including a building in East Harlem where seven died in a fire in 1987 and that, once purchased by a company backed by a Morgan Stanley investment fund, saw long-time minority residents harassed to make way for new, wealthier tenants.

The resulting housing crisis in London has been accompanied by an evisceration of services, as in the cuts in fire services and policing pioneered by May as home secretary. And all this has been achieved swiftly, accompanied by a technocratic jargon that appears utterly self-referential. Among these are words like deregulation, outsourcing, and, especially, “austerity,” as if what has been going on is some kind of secular Ramadan, a communal fasting to be followed by an iftar party, rather than a refusal by elites to provide basic services to citizens of the sort depicted, recently, in Ken Loach’s film, I, Daniel Blake.

Ballard’s novel captures all this quite perfectly, including the arc from enlightened self-interest to enlightened dementia as his high-rise, which starts out as a self-contained utopia for the professional classes, descends steadily into a small-scale civil war. It ends, as emphasized by the opening passage of the novel where a character eats “the roast hindquarter of the Alsatian,” in a man-eats-dog free enterprise society. With its forty floors, thousand apartments, supermarket, swimming-pools, bank, and school, Ballard’s high-rise, one guesses, has been at least partially funded by taxpayers’ money. It is built, after all, in a reclaimed area of London’s “abandoned dockland and warehousing along the north bank of the river.” Once completed, however, one of five such towers, it looks out with a glance every bit as predatory as the wealthy in Kensington and Chelsea eyeing the property values near Grenfell Tower, at the “rundown areas around it, decaying nineteenth-century terraced houses and empty factories already zoned for reclamation.”

But if Grenfell is a working-class, minority other to Ballard’s tower, ravaged from the outside by predatory capitalists rather than a gated community devoured from within, it also provokes something that is not to be found in Ballard’s prescient work. The tenants who voiced concerns about safety, including two minority women who went missing in the blaze, exemplify a social vision quite different from Ballard’s crazed professionals turning upon each other. In the continuing protests of survivors and their allies asking to be let into the closed meetings being conducted by the borough council and in the demands made by the Labour party leader  that empty residences in the borough, owned by absentee rich landlords, be used to house survivors, we see the inverse of Ballard’s psychotic elites competing to the death. Corbyn’s proposal stirred a Tory writer to ventilate about his “true, disturbing nature,” as if he were beginning a class war. But in Corbyn’s bringing to life a moribund Labour party in the face of a relentless media campaign against him, in the votes his party received in the recent general elections, especially from the disenfranchised young, the working class, and minorities, there is a profound stirring of hope, the beginnings of a refusal of Thatcher’s diseased world of man eats dog in a gutted tower.

 

Saturday Matinee: Crash! (1971)

Crash_Spain_525

From Open Culture:

The Very First Film of J.G. Ballard’s Crash, Starring Ballard Himself (1971)

The Collins English Dictionary defines “Ballardian” as “resembling or suggestive of the conditions described in J. G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.” You’ll find no more distilled dose of the Ballardian than in Ballard’s book The Atrocity Exhibition, a 1969 experimental novel, or collection of fragments, or what’s been called a collection of “condensed novels.” Subject to an obscenity trial in the United States and the subsequent pulping of nearly a whole print run, the book has earned a permanent place in the canon of controversial literature. Its twelfth chapter, “Crash!”, even provided the seed for a Ballard novel to come: 1973’s Crash, a story of symphorophilia which David Cronenberg adapted into a film 23 years later. The movie, in its turn, stoked a furor in the United Kingdom, culminating in a Daily Mail campaign to ban it. But as far as filming material born of Ballard’s fascination with the intersection of auto wrecks and sexuality, Cronenberg didn’t get there first.

Susan Emerling and Zoe Beloff drew from Crash the novel to make the still-unreleased Nightmare Angel in 1986, but fifteen years before that, Harley Cokeliss turned “Crash!” the chapter into Crash! the short film (also known as The Atrocity Exhibition). Casting Ballard himself in the starring role and Gabrielle Drake (sister of singer-songwriter Nick Drake) opposite, Cokeliss crafts a vision almost oppressively of the seventies: the protagonist’s wide, striped shirt collar dominates his even wider jacket collar below the grim visage he wears while ensconsed in the suit of armor that is his hulking American vehicle. “I think the key image of the twentieth century is the man in the motor car,” Ballard says in voiceover. “Have we reached a point now in the seventies where we only make sense in terms of these huge technological systems? I think so myself, and that it is the vital job of the writer to try to analyze and understand the huge significance of this metallized dream.” If this Ballardian vision resonates with you, see also Simon Sellars’ thorough essay on the film at fan site Ballardian.

Arcadian Gates by T.A. Wardrope: Dystopia on the Fringe

51J0Tmr3+IL._SX330_BO1,204,203,200_By Brian Whitney

Source: Disinfo

T.A. Wardrope‘s new novel, Arcadian Gates, tells the story of how ten years ago, the entire nation was struck by a chemical weapon which destroyed most people’s memories. Akiry, a young woman who makes her way smuggling amongst the lower caste of the rebuilt country, is haunted by dreams of a daughter she otherwise does not remember. As civil war erupts in the city around her, she takes the last chance she has to find the truth about her daughter and her past.

We talked to author and Disinfo contributor T.A. Wardrope about his new book.

T.A., Thanks for talking to me. Can you tell me a little bit about what inspired Arcadian Gates and what your process was writing it?

The book began as a short story in a writing workshop. I had fun with it and so I just kept building it forwards and backwards for quite a few years. There was a substantial amount of world building that was a byproduct of writing Akiry’s story. Next thing I knew I had a book with a glossary and a map on the inside cover.

The story itself evolved as I tried to understand Akiry’s relationship to the world around her. I wanted a dystopia that was drawn from the lore and theories that Disinfo readers would recognize. Fringe stuff that you might hear about on Darkness Radio or Art Bell’s classic Coast to Coast AM. There’s kind of a unified conspiracy theory under the whole thing. A substantial amount of Terence McKenna and William Burroughs influence too. I joke that it is my “Streets of Fire”; one book that has everything I enjoy about science-fiction in the mix.

In your book almost an entire nation loses its memory due to a chemical weapon. Memory is always a fight, even in the best of times, it can be tricky and elusive, can you touch on how the loss of a nation’s memory changes everything?

Oh, I think we can just look around. I think that part of the book comes from a place of satire or critique. Americans, in particular, are very good at forgetting the lessons of the not-so-distant past. This bizarre hyper news cycle is a particularly troublesome symptom of this. By making something so very important for a few days, nothing becomes important at all. It’s very Orwellian.

But within the Administrated Republic, the weapon’s effect allows for a constantly shifting narrative of history. It’s the least subtle method of the winner defining history. Practically speaking, families are separated, identities destroyed, and personal empowerment disintegrated. It’s very hard for people to trust who they are if they don’t really know their past. Plus the shared experience allows for national community and a national wound that is easy to use as needed. Again, we can look at our recent history for evidence of that. That Administrated Republic just takes all of this to the next level of control. They had their reasons, though. I wanted them to be much more authentic than your standard dystopic power state. I had as much writing their side of things as I did the roughnecks in Akiry’s world.

You seem to have the chops of someone who has long been a student of the Sci-fi masters. What writer influenced you along your path?

Oh, thank you. There’s a solid foundation of Isaac Asimov, Frank Herbert, Ray Bradbury and David Drake. But the actual authors who had a direct influence on how I thought about the world of Arcadian Gates would be people like Philip K. Dick, William Burroughs, Samuel Delaney, J.G. Ballard, China Mieville, Moebius, Alan Moore, Robert Anton Wilson and Margaret Atwood. My program advisor at Hamline, Lawrence Sutin, is a PKD scholar so his input was especially helpful. I am a student of cinema too, so there’s plenty of influence from that realm. Some folks have asked me to write a screenplay version, but the book seems basically unfilmmable to me. Movies about underdog drug dealers don’t get the kind of budgets it would need to get made correctly.

Are there lessons to be learned from the Dystopian world that we see in Arcadian Gates?

I see it as satire in the tradition of 1984, Brave New World or We, so the lessons available in the story are just as evident in the world around us now. I think that one reason dystopia was so popular with young readers is that the world around them is a dystopia in many ways and fiction just distills that into a less confusing form. Arcadian Gates isn’t a YA book, by any means, but every part of it is drawn from history or historical theory. I didn’t write it for a particular moral, though, I wanted to keep it focused on how one woman navigates this world and how her actions reverberate throughout that world. I suppose the lesson is that history is a collision of millions of stories driven by many more decisions and desires. Akiry’s journey is one of those stories.

What are you up to next?

I am working on a pair of books drawn from the Sirius Business blog that runs here on Disinfo. One of those will actually be in the same continuity of Arcadian Gates. There will be a sequel to Arcadian Gates, as Akiry is just getting started. In between the books there are some short stories written that are both in continuity and some not at all related. Those could wind up in a collection at some point. Finally, I’m doing some more world building for a project that is firmly grounded in the horror side of things. Sometimes I wonder if I love the development stuff too much, even the shorts have considerable background to them.

More info on all of this stuff will pop up on social media. I’ve got more things planned in support of Arcadian Gates, too. Readings and maybe some convention visits. Being an indie author requires a having a finely honed sense of the balance between creative work and promotional work. I’ve still got a lot to learn in both of those aspects, I think. I’ll be learning advanced time engineering. Whiskey, too. Plenty of whiskey.