The first six episodes of the much anticipated transhumanist apocalyptic micro-drama H+ The Digital Series are now out. This is a brief review and set of initial impressions.

Warning: It includes spoilers for all six episodes out so far.

H+ The Digital Series is directed by Bryan Singer (X-men) and distributed online by Warner Brothers in a novel short episode format via YouTube. The series tells the story of a near future world where an Irish corporation known as H+ (H plus) Nano Teoranta has developed a neural implant technology used to link humanity into a global real-time augmented reality.

The short YouTube video format is probably as controversial as the content of the program. Can a 140 character culture relate to characters in 4 minute segments?

The series consists of short YouTube videos lasting about six minutes and each featuring something like 2-3 minutes of time in the fictional world. I found it hard to relate to the characters in this short format especially when you consider that only about four minutes and 30 seconds is the actual programming and the rest is just the intro and outro title sequences.

The first two episodes, “Driving Under” and “On Their Level”, were released first, and these consist of what is essentially the first five minutes of the story. The second batch of episodes, 3-6, were released initially only to subscribers to the program’s YouTube channel. A new episode is to be released every Wednesday.

Episode 1 is set “five minutes before it happened”. We are introduced to the H+ Nano medical implant technology and HPlus Nano Teoranta the company that has developed it. The H+ interface is a sort of real time connected augmented reality system that employs a neural implant rather than glasses. The system creates a personal interface only the user can see and is controlled by hand movements. In addition, the system provides real-time monitoring and feedback of the user’s own biological functions.

The first episode also introduces us to the concept of transhumansim, which in case you weren’t aware is an “international movement that supports the transforming of the human body and thereby the human condition through advanced technologies”.

Singer clearly lines the series up with the cyberpunk tradition, presenting a dystopian near future where tech stocks have tumbled, cybercrime is on the rise, and people are protesting being used in scientific experiments against their will despite the amazing technological advances.

Cut to a couple parking their car in an underground garage at the airport. The wife is interacting with her H+ system via her neural implant as they look for parking. The husband is covertly watching a sporting event via his interface, a fact that upsets his wife and causes an argument between them.

It is, of course, traditional for a geeky review of any new science fiction film or TV program to locate and dissect minute technical flaws in any science or technology described. This review will be no exception.

Not even five minutes in o the series and there is already some problematic stuff. In the H+ series future, we’ve got magical nanotech implants but the cars don’t have autopilot. In fact any sort of AI, a central theme of modern transhumanism, seems to be entirely absent from this H+ world so far.

In reality the husband Lee would just switch on the car’s autopilot and crack open a beer. Yes, in the future it will be legal to drink in a vehicle if you aren’t driving and the cars will be designed such that they won’t let you drive if you do drink.

The H+ implant itself is some sort of near magical nanotechnology allowing direct neural interface without invasive surgery. You simply inject this thing and you become connected to the global hive mind via a neural augmented reality interface. The notion is well beyond the current state of the art. Implantation for example with cochlear implants involves actually cutting open someone’s head and wiring a jack into their skull.

More silliness, the neural interface requires you to move your hands and talk in order to use it.  A direct neural interface of this sort will allow thought to be directly transformed into action. That is, you won’t actually need to reach out and touch the imaginary interface, you will simply imagine touching it and the system will sense and respond to the pattern of activity in your brain. Imagine if everyone was waving their hands around in this way. Not only does this look ridiculous, people would slap each other in the face accidentally while using it.

Five minutes and six seconds in, something goes very wrong. People exiting the elevator start collapsing like ragdolls. Someone is running, a car crashes and then an out of control airplane smashes directly into the garage. It’s The Event, a sort of digital viral apocalypse that is going to be the focus of the series.

It is good to get this sort of thing out of the way up front. Singer has an axe to grind. In this vision of H+, transhumanism is bad… really bad. In fact it is the cause of the collapse of civilization and the deaths of millions of people. We can’t have something like direct universal access to the sum total of human knowledge turn out to be a good thing, now can we? It must be dangerous.

Episode 2 expands on the immediate after effects of The Event and introduces us to a few survivors including (naturally) a mysterious man who seems to know more than he should about what is happening.

Episode 3, “The Prophetess”, is a flashback to seven years prior to The Event. We get to play voyeur on a first date that ends badly between Manta and Topi. For a minute I thought this was going to veer into WTF territory, but it turns out that Topi is some sort of future cop who is collecting information on Manta. Perhaps Manta is one of those cyber criminals we heard about in episode one? It’s the Girl with the Dragon Tattoo moved to Finland. I wonder if they will include a tango.

Episode 4, “Airport Security”, takes us back to the original timeline and group of survivors, to just 1 minute after The Event. Does anything really happen in this episode? It turns out that the mysterious stranger is (surprise) one of the developers of the H+ technology.

Episode 5, “A Large Family”, is another flashback this time to just seven months before The Event. This seems like it will be a pivotal episode going forward. We meet Breanna, a high powered executive with H+ Nano and and her husband Connal. Breanna is set up to be the evil transhumanist bitch queen, but perhaps they will humanize her later. Or maybe not.

Breanna and her husband meet a young Indian woman Leena to arrange a surrogate pregnancy. But as part of the deal they want Leena implanted with H+ so she can be monitored until the birth. When things get complicated, Breanna ends the conversation and enters a teleconference via her H+ device. Connal and Leena leave to have a more human conversation. I am assuming the baby is modified in some way, possibly to include the H+ interface in the womb or perhaps it will be genetically enhanced in some other way.

Episode 6, “Voci Dal Sud,” Voices from the South, takes us to Italy two years after The Event. Things have gone from bad to worse, and we’re given a picture of a world in collapse with no access to modern medicine or doctors.

It will be interesting to see if there will be additional transhumanist elements beyond those included in the opening few episodes. Covered so far: neural implants, the hive mind and global 24/7 Internet connectivity, augmented reality, computer viruses, apocalypse or singularity — The Event.

Notably absent from the series so far is any appearance of Artificial Intelligence or General Artificial Intelligence, and, in particular, the favorite theme of transhumanists everywhere — the self improving superintelligent AI — is no where to be seen in H+. Ray Solomonoff must be rolling in his grave.

The short format is problematic. About 25-30% of each video is simply the title sequences, which I have now seen six times. This is too much and it is distracting. The total program length of all six videos so far is just about 30 minutes. As a result the majority of the characters haven’t been developed and they are not relatable or interesting, at least not quite yet. I think a somewhat longer length for each program would work better.

Even so, the show is worth watching. The Event and the H+ device are an obvious analogy to our existing world of connected mobile devices, networked economic systems and eCommerce, real time social media, and so on. We don’t have neural implants yet, but we’re already susceptible to infectious viral agents passed by social media. The Event could happen to us.

H+: The Digital Series

Another segment from the rough draft of Use Your Hallucinations: Mondo 2000 in the 20th Century Cyberculture.  Note that “the total fucking transmutation of everything” is established as a conceit early in the narrative, thus its use here reflects on a major theme.

…Meanwhile, we made a rash decision.  Despite High Frontiers relatively successful rise within the ‘zine scene (where 15,000 in sales was a pretty big deal), we decided to change the name of the magazine itself to Reality Hackers. 

It was my idea.

We’d been hipped to cyberpunk SF and I’d read Gibson’s Neuromancer and Sterling’s Mirrorshades collection.  His famous introduction for that book, describing what cyberpunk was doing in fiction — seemed to express precisely what a truly contemporary transmutational magazine should be about. Here are some parts of it:

The term, (cyberpunk) captures something crucial to the work of these writers, something crucial to the decade as a whole: a new kind of integration. The overlapping of worlds that were formerly separate: the realm of high tech, and the modern pop underground.

This integration has become our decade’s crucial source of cultural energy. The work of the cyberpunks is paralleled throughout the Eighties pop culture: in rock video; in the hacker underground; in the jarring street tech of hip hop and scratch music; in the synthesizer rock of London and Tokyo. This phenomenon, this dynamic, has a global range; cyberpunk is its literary incarnation… 

An unholy alliance of the technical world and the world of organized dissent — the underground world of pop culture, visionary fluidity, and street-level anarchy… 

For the cyberpunks… technology is visceral. It is not the bottled genie of remote Big Science boffins; it is pervasive, utterly intimate. Not outside us, but next to us. Under our skin; often, inside our minds.

Certain central themes spring up repeatedly in cyberpunk. The theme of body invasion: prosthetic limbs, implanted circuitry, cosmetic surgery, genetic alteration. The even more powerful theme of mind invasion: brain-computer interfaces, artificial intelligence, neurochemistry — techniques radically redefining — the nature of humanity, the nature of the self.

The Eighties are an era of reassessment, of integration, of hybridized influences, of old notions shaken loose and reinterpreted with a new sophistication 

Cyberpunk favors “crammed” loose: rapid, dizzying bursts of novel information, sensory overIoad that submerges the reader in the literary equivalent of the hard-rock “wall of sound.”  

Well, then…

Also, Jaron Lanier was hanging around some, sharing his lofty goals for virtual reality; and Eric Gullichsen, who was teaming up to do some writing with Timothy Leary — with whom he shared a mutual fascination with drugs, extreme technology and Aleister Crowley — was already even a bit deeper in the mix, while dreaming his own VR schemes.  Various hackers like Bill Me Later and John Draper (Captain Crunch) were popping up with increasing frequency.  Hanging in hacker circles, we were also befriended by John Morgenthaler, who was getting very serious about the exploration of smart drugs.  Something was starting to surface.  Several small subcultures were drifting together, and some of these, at times, esoteric groupings included men (yes, men) who were creating the next economy.  Clearly, we were positioned to become the magazine of a slow baking gestalt.

Other factors played into this change.  While a strutting, pop-intellectual, irreverent psychedelic magazine (in other words, High Frontiers) could surely build an audience somewhat larger than 15,000, we probably weren’t all that far from our optimum, unless we wanted to stifle our Gonzo-meets-Camp writerly excesses and dumb ourselves down to something more like a High Times for psychedelic drugs.  Also, acid dealers didn’t advertise.  The number of potential advertisers for a magazine that revolved primarily around psychedelics was limited, particularly in this “just say no” period. Hell, dope friendly humor was even voluntarily eliminated by Saturday Night Live, the once-hip show inspired by a Lorne Michaels mescaline trip.    And then, admittedly, by emphasizing technology, we could, in theory, put a bit of a buffer zone between ourselves and “the man” — throw him off our druggy tracks while sneaking sideways into the center of the oncoming digital establishment, all the better to affect the total fucking transmutation of everything (bwahaha)… or maybe even make a livelihood!

Lastly, it had really been my intention from the start to create a magazine that (to slightly detourne the original subhead of High Frontiers) was balanced between psychedelics, science, technology, outrageousness and postmodern pop culture.  The psychedelic impulse had gloriously taken center stage for the first four years.  Now it was time to push into new territory.

To consolidate my thoughts about the Reality Hackers, I wrote a small manifesto (a list, really) titled:

What Are The Reality Hackers Doing

1: Using high technology for a life beyond limits

2: Expanding the effectiveness and enjoyment of the human brain, mind, nervous system and senses

3: Blurring the distinction between science fiction and reality

4: Making big bureaucracy impossible

5: Entertaining any notion — using what works

6: Infusing new energy into postmodern culture

7: Using hardcore anthropology to understand human evolution

8: Using media to send out mutational memes (thought viruses)

9: Blurring the distinctions between high technology and magic

10: Replacing nerd mythology with sexy, healthy, aesthetic, & artful techno-magicians of both genders.

With this, I was also aligning the magazine ideologically with a transhumanist agenda.  I’d attended meetings of a nanotechnology interest group hosted by Christine Peterson and, sometimes, Eric Drexler.  I started to see the actual dim outlines of a plausible “total fucking transmutation of everything;” with molecular technology giving us total productive control over matter for unlimited wealth; biotechnology giving us the potential for positive mutations in the human organism; and neurotechnology theoretically allowing us to maximize our intelligence — not too mention cleaner, better highs with no downside.

Of course, we were maybe throwing away four years building a brand but, if we were anything, we were impulsive.

Ken Jopp: Reality Hackers was, to me, inelegantly titled. Still, the cyberpunk thing was revving up.  The weekly tabloid in my town ran a cover story on hackers: teenagers who lugged computers into phone booths, and then, when nobody was looking, they made long-distance calls for free! This was subversive stuff. Off the Establishment! I bought the issue of Reality Hackers and adopted it and its kin as a cultural security blanket.  These proto-Mondo publications, arriving during the Dark Ages of President Ronald Wilson Reagan (666), were a source of what later would become hollowed out to form a tinhorn. I mean, Hope and Change?

Lord Nose: I think it kept getting more and more mainstream in hopes of getting on to the newsstand and getting advertisers. It was being slowly made more palatable — or seemingly palatable — for the corporate interests that had no taste. I mean, it was so different. High Frontiers had a very different thrust.

Jeff Mark: Those of us serious about psychedelic exploration continued. Indeed, there was considerable activity, particularly around Tim Leary and Terence McKenna, but the momentum was spent. People started worrying about making a living.  High Frontiers/Reality Hackers had to get their shit together. 

Previous MONDO History Entries

Psychedelic Transpersonal Photography, High Frontiers & MONDO 2000: an Interview with Marc Franklin

Gibson & Leary Audio (MONDO 2000 History Project)

Pariahs Made Me Do It: The Leary-Wilson-Warhol-Dali Influence (Mondo 2000 History Project Entry #3)

Robert Anton Wilson Talks To Reality Hackers Forum (1988 — Mondo 2000 History Project Entry #4)

Smart Drugs & Nutrients In 1991 (Mondo 2000 History Project Entry #5)

LSD, The CIA, & The Counterculture Of The 1960s: Martin Lee (1986, Audio. Mondo 2000 History Project Entry #6)

William Burroughs For R.U. Sirius’ New World Disorder (1990, Mondo 2000 History Project Entry # 7)

New Edge & Mondo: A Personal Perspective – Part 1 (Mondo 2000 History Project Entry #8)

New Edge & Mondo: A Personal Perspective – Part 2 (Mondo 2000 History Project Entry #8)

The Glorious Cyberpunk Handbook Tour (Mondo 2000 History Project Entry #9)

Did The CIA Kill JFK Over LSD?, Reproduced Authentic, & Two Heads Talking: David Byrne In Conversation With Timothy Leary (MONDO 2000 History Project Entry #10)

Memory & Identity In Relentlessly Fast Forward & Memetically Crowded Times (MONDO 2000 History Project Entry #11)

The First Virtual War & Other Smart Bombshells (MONDO 2000 History Project Entry #12)

Swashbuckling Around The World With Marvin Minsky In How To Mutate & Take Over The World (MONDO 2000 History Project #13)

FAIL! Debbie Does MONDO (MONDO 2000 History Project Entry #14)

Paradise Is Santa Cruz: First Ecstasy (MONDO 2000 History Project Entry #15)

William Gibson On MONDO 2000 & 90s Cyberculture (MONDO 2000 History Project Entry #16)

Ted Nelson & John Perry Barlow For MONDO 2000 (MONDO 2000 History Project Entry #17)

R.U. A Cyberpunk? Well, Punk? R.U.? (MONDO 2000 History Project Entry # 18

The New Edge At The New Age Convention (MONDO 2000 History Project Entry #19)

The Belladonna Shaman (Mondo 2000 History Project Entry #20)

NeoPsychedelia & High Frontiers: Memes Leading To MONDO 2000 (MONDO 2000 History Project Entry #21)

“I’d Never Met A Libertarian Before” (Mondo 2000 History Project Entry #22)

 

‘I think DNA is ultimately trying to create a world where the imagination is externalized, where the mind and the external world become synchronized as one, so that basically whatever we can imagine can become a reality. Literally.”

Consciousness: What is it? Are your thoughts and emotions nothing more than neural static? Will your physical death extinguish your awareness? Is your individual consciousness just one of innumerable facets of a universal consciousness?

In search of answers to questions like these, local writer/neuroscience researcher David Jay Brown has mind-melded with many of the world’s most prominent philosophers, visionaries, culture-shapers and snorkelers of the psyche, including Timothy Leary, Terence McKenna, Robert Anton Wilson, Noam Chomsky, Ram Dass, Albert Hofmann, Jack Kevorkian, George Carlin, Sasha Shulgin, Deepak Chopra, Alex Grey, Jerry Garcia, Stanislav Grof and John Lilly. He’s chronicled these meetings in his bestselling interview compendiums Conversations on the Edge of the Apocalypse, Mavericks of the Mind, Mavericks of Medicine and Voices from the Edge. Dubbed “the most compelling interviewer on the planet” by author Clifford Pickover, Brown has recently completed work on the book “The New Science of Psychedelics: At the Nexus of Culture, Consciousness, and Spirituality,” to be published by Inner Traditions in the spring of 2013.  In approximately two months, the web magazine Reality Sandwich will publish his new e-book “The Complete Guide to Psychedelic Drug Research.”

Brown  is also the author of the sci-fi books Brainchild and Virus: The Alien Strain. He frequently serves as guest editor of the tri-annual newsletter from the Multidisciplinary Association for Psychedelic Studies (MAPS), a Santa Cruz-based psychedelic research organization that recently published the second edition of Mavericks of the Mind (available at Bookshop Santa Cruz). He has written for periodicals such as Mondo 2000, Scientific American Mind, Wired, High Times, The Sun, Magical Blend and the Journal of Psychical Research. The diversity of his output is telling of his leave-no-stone-unturned approach to consciousness exploration: It’s a good bet he’s the only writer in history who’s contributed to both the Buddhist wisdom publication Tricycle and the porn magazine Hustler.

Brown’s studies of learning and memory at the University of Southern California in the early ’80s earned him a B.A. in psychology. Between 1985 and 1986, he did research on electrical brain stimulation at New York University, obtaining a master’s degree in psychobiology. His inquiries eventually led him into the realm of parapsychology: He’s the man behind the California-based research for biologist Rupert Sheldrake’s books Dogs That Know When Their Owners Are Coming Home and The Sense of Being Stared At, both of which presented scientific studies of unexplained phenomena. Brown’s knowledge of such mysteries, as well as of technology, smart drugs, health, psychedelic research and sex-drug interaction, have landed him guest spots on shows like HBO’s Real Sex, Fox’s A Current Affair, PBS’s Nature, ViaCom’s The Montel Williams Show and the BBC and Discovery Channel’s Animal X.

DAMON ORION: Tell me about the electrical brain stimulation research you’ve done. 

DAVID JAY BROWN: When I was at New York University, I did research for years where I surgically implanted electrical stimulating probes into the lateral hypothalamus of rats, which is a pleasure center. I would watch rats press a bar that delivered an electric current into their brain center over and over and over again until they fell asleep from exhaustion. Then they would wake up, and there was food sitting next to them, water sitting next to them and a mate sitting next to them. They ignored all three and would continue to press that bar over and over again to get the reward stimulation over survival instincts.

The other area of research I was involved in was at University of Southern California, and it was the exact opposite of the research I did at NYU, where I was surgically implanting electrodes into the brain centers of mammals and stimulating them: In this case I was inserting cold probes, which are devices that actually freeze or inhibit a certain part of the brain temporarily, so you can see how the animal operates with that one part of the brain missing, and how they operate when that part of the brain comes back.

The anesthetic that we gave to the rabbits prior to surgery was a drug called ketamine. I took some of this ketamine home and experimented on myself with it. After injecting 50 milligrams of ketamine chloride into my right thigh muscle and turning the lights out, I suddenly “realized” that my professors and my fellow researchers and colleagues at USC were in reality extraterrestrials—that they were scientists who were there not to study rabbits; they were there to study me. I was the test subject, and they’d left this bottle of ketamine out for me to take. They were watching me right at this moment with a video camera. And suddenly I found myself in a cage with cold probes implanted in my brain and giant rabbits all around me. They were measuring me, and I was naked and helpless. Suddenly, I snapped back into my body. I did not continue very much longer in that program after experiencing what I was experiencing from the rabbit’s point of view. That’s what ketamine taught me: what the rabbit was experiencing from what I was doing.

DO: You often ask your interviewees what they think happens to consciousness after death. If you had to put money on what happens after death, what would you bet on?

DJB: I guess wherever you go after death, the money’s not going to matter anymore! [Laughs.] You know, I think about that question every day, as an exercise of the imagination, and I change my mind about it all the time. I used to debate with my friend Nina Graboi — whom I interviewed for my book Mavericks of the Mind, and who passed away about 10 years ago —a ll the time about what happens to consciousness after death. It was one of our favorite topics of conversation. In general, I took the position that after you die, your individuality leaves, and your sense of awareness merges with the higher consciousness, the oneness, the source that everything came from originally. And her position was, “Well, there is that, but then there are all these levels in between where individuality remains besides the body, and you go through [multiple] incarnations with that. For years we went back and forth with this. Nina referred to her body as a spacesuit, and she always said she was going to get a new spacesuit when she died; she would go from one spacesuit to another. Well, after Nina died, I was writing in my journal, and the TV was on in the background. I was thinking about what was going on in Nina’s mind when she was dying: “I’ll bet she was thinking, ‘Now I see: David Jay Brown was right! You do just merge with the one consciousness.’” As I’m sitting there in this kind of self-congratulatory way, I look at the television screen, and there on the TV screen is one word: SPACESUIT. There was this tingle up my spine. I stopped in my tracks; my jaw dropped open. It was the most profound sense of communication with somebody after they died that I’d ever experienced. That is the most compelling evidence I’ve experienced that consciousness not only continues [after death], but that some sense of individuality continues as well.

DO: What are your memories of your friend Timothy Leary?

DJB: Well, my fondest and most important memories of Tim, I think, are [of] while he was dying. The last year [of his life], he announced to the media that he was thrilled and ecstatic that he was dying. And for the last year, while he was dying from prostate cancer, there was continuous celebration, continuous parties, continuously people coming around his house to tell him how important his work was to them. There was such a feeling of festivity and celebration and Tim deliberately trying to be playful and have fun with this process. This really made a very deep impression on me, because I ask so many questions about death—it’s an important philosophical topic for me. And there have been so many people throughout history trying to die bravely or courageously or nobly, but before Tim, I don’t think anybody ever tried to say, “Let’s make dying fun!” [Laughs.] Tim really tried to party through the dying process, and I thought it was just a stroke of brilliance. I cried when he died; as much fun as it was, it was terribly sad the moment that he really left. But he just left us all with such a great message, I think.

DO: Tell me about your connection to Robert Anton Wilson.

DJB: Bob was not only one of my closest friends, but he was the person who actually inspired me to become a writer. It was at the age of 16 that I read Cosmic Trigger, and that was how I encountered Timothy Leary, John Lilly and a number of the other people I went on to interview. I went to a lecture that Bob gave here in Santa Cruz back in the late ’80s. At the end of the lecture, I went over to talk to him. I told him I was working on a book, and I asked him if he would possibly consider writing a blurb for the back cover. He kind of hemmed and hawed and looked not terribly enthusiastic, like I was the 15th person that day who asked him that, you know? [Laughs.] But he did tell me to have my publisher send him a copy of my book, and he would take a look at it. So you could only imagine my absolute delight when I discovered from my publisher that he ended up writing an 11-page introduction to my first book, Brainchild. It was through that that I became friends with him. He was a tremendous friend and mentor. When I had difficulty paying my rent early in my writing career, he actually sent me money to pay my rent! He was always there when I called him, giving me great advice. When an editor made some kind of change to one of my articles that I wasn’t happy with, [he said,] “Editors don’t like the way the soup tastes until they pee in it themselves.” [Laughs.]

DO: What was your experience as a guest on The Montel Williams Show?

DJB:  I was on Montel Williams’ show back in the early ’90s, during his first season. There was all this anti-drug hysteria, and I was on the show to talk about smart drugs: cognitive enhancers like hydergine, piracetam and deprenyl — different drugs that are commonly prescribed for senile dementia, but have been used by people to enhance their memory or improve their concentration. He didn’t seem to be very open to even discussing the research or hearing anything about it. He kept cutting us off, and he’d talk about how dangerous methamphetamine was, how this was sending the wrong message to people and how the whole idea of putting “smart” before “drugs” was wrong, and there was no smart way too use drugs. He would not even carefully consider what we were saying. He had his mind made up. And what I think was so interesting is that since he’s developed multiple sclerosis and has had to use medical marijuana to treat the symptoms of this disorder, he’s now become one of the leading spokespeople for the legalization of medical marijuana. What is it about illness that turns people around? People think that medical marijuana is a joke until they’re faced with an illness, or until a loved one is, and then they really understand the medical value that it has and what a horrible, horrible atrocity it is that it’s against the law.

DO:  Is there a primary goal of your work or a primary message you’re trying to get out?

DJB: It seemed to me since I was a child that our species is in ecological danger… destroying ourselves. Since I was a teenager, since my very first psychedelic experiences, I felt a very strong commitment to help elevate and expand consciousness on this planet through my work. I made a personal pact with what I felt was DNA or higher intelligence. I felt that if I aligned my personal mission with life’s overall mission, then I would always be supported throughout my life in what I was doing, and I would be working for a noble cause.

DO: And what is DNA trying to do?

DJB: I think DNA is ultimately trying to create a world where the imagination is externalized, where the mind and the external world become synchronized as one, so that basically whatever we can imagine can become a reality. Literally. And I think that everything throughout our entire evolution has been moving slowly toward that goal. In the past couple thousand years, it’s been very steady. And through nanotechnology, through artificial intelligence, through advanced robotics, I think we’re entering into an age where we’ll be able to control matter with our thoughts and actually be able to create anything that our minds can conceive of. We’re very quickly heading into a time where machines are going to be more intelligent than we are, and we’re going to most likely merge, I think, with these intelligent machines and develop capacities and abilities that we can barely imagine right now, such as the ability to self-transform. What we can do with computers—digital technology, the way we can morph things on a computer screen—is the beginning of understanding that that’s how reality itself is organized, that we can do that with physical reality through nanotechnology and artificial intelligence, that the digital nature of reality itself will allow us to externalize whatever we think. So I think that eventually reality will become like a computer graphic screen, and we’ll be able to create whatever we want. That sound right? [Laughs.]

One worthy meme that spread among segments of the global population during the second half of the 20th Century was the idea that war had become obsolete.

Throughout human history (and prehistory), families, tribes and nations had believed that these violent conflicts were necessary or even helpful to their survival and/or prosperity and — the horrors aside — that sort of worked out for the victors most of the time.  But with the introduction and use of the atomic bomb in 1945, whole systems thinkers and peace activists started spreading the notion that now that we had weapons that constituted an existential threat, the human drive towards war was now nothing but a menace to our survival and prosperity.

With the passage of time, and even with the development of the hydrogen bomb and the spread of weaponized nukes to at least eight nations, we have, broadly speaking, become smug about the nuclear holocaust that haunted the 20^th Century imagination.  There are two flavors of smug involved.  Flavor one is MAD — Mutually Assured Destruction.  No nation, however bizarre its politics, will launch a nuclear strike because that nation would immediately thereafter be reduced to cinders. The other flavor of smug is that a limited nuclear exchange would not be that apocalyptic.  I happen to think that both the environment and the “economy” and our sort of collective psyche are all way more fragile than some would like us to believe and that a limited nuclear exchange would bring about some sort of chain reaction that would bring about a new level of social chaos that nobody actually wants to experience, but I certainly can’t prove it.

But beyond that, there is the fact that with biotech, AI, nanotech and other technologies we will soon have more powerfully devastating weapons that will constitute — even more definitively — an existential threat.

This is one of the reasons that I cringe whenever upbeat futurists toss in glib segments about the future of weaponry and warfare in articles and books about how awesome the future will be, often without even acknowledging the actual nature of what they’re writing or talking about.

So I’m sticking with one of my favorite 20^th century hippie-dippie memes — war is obsolete.  But with a 21^st Century twist… if it’s definitively part of human nature — if it absolutely can’t be fixed by changing the conditions in which humans live, then we’ll have to change human nature itself.

Meanwhile, have a fun Memorial Day weekend and spare a thought for the common foot soldier (and the stay at home voter).