I want to give it a name, and at this point I’m calling it Network Realism.
Network Realism is writing that is of and about the network. It’s realism because it’s so close to our present reality. A realism that posits an increasingly 1:1 relationship between Fiction and the World. A realtime link. And it’s networked because it lives in a place that’s that’s enabled by, and only recently made possible by, our technological connectedness.
Zero History is Network Realism because of the way that it talks about the world, and the way its knowledge of the world is gathered and disseminated. Gibson seems to be navigating the spider graph of current reality as wikiracing does human knowledge.
What many people—including me—have been bothered about with Zero History is it’s lack of futureness. Matt took Gibson’s comment that “We have too many cards in play to casually erect believable futures” to mean that “Science Fiction is losing the timeline”. Russell is depressed by the lack of future in SciFi and much else. And I wrote, reading the book, “The problem is not that we don’t have jetpacks, but that no one is writing about jetpacks.”
I think these are misreadings of Network Realism. This writing exists on a timeline, but it’s not a simple line back-to-the-past and forward-to-the-future. It’s a gathering-together of many currently possible worldlines, seen from the near-omniscient superposition of the network. The Order Flow of the Universe. Speculative Realism, Networked Fiction: Network Realism.
[zanmantou type= »audio » file= »http://webdirections.org/podcasts/WD10/wds10-James-Bridle.mp3″ title= » »]