Distrust that particular flavor


I’m finishing Gibson’s collection of articles, Distrust That Particular Flavor. At last. I’ve been drawing it out, trying to make it last longer, as I’ve been enjoying it tremendously, and collections are easy to stretch out that way, unlike novels or any fiction, really.

Flavors, and my reading it, is meta on so many levels. Reading a book by a science fiction/cyberpunk author collecting articles and speeches by said author himself in the past, commented on and put in context in the much more recent past: it’s a peculiar kind of obsession with, I guess, a person, or perhaps the idea of a person, or their perspective, that you need to be into this kind of thing.

All this, or rather my enjoyment of it, tells you less about myself (besides of course that I have the ability and inclination to obsess in this particular way about things and ideas) than it puts me in context, historically and chronologically, much in the  same way his stories are put into context in Flavor by Gibson himself. Notably and most obviously, this contextualization comes in the shape of a time stamp. Me having gotten hooked on cyberpunk and science fiction as a small town youth in the early-to-mid 90s, on Gibson’s and many others’, on written fiction and pen and paper style role playing games of the geekiest variety, as well as movies and all the rest.

It feels a tiny bit weird that at the time of his writing, Gibson was probably just a bit older than I was reading it, or max as old as I am now*. At the same time it feels strangely pleasing, comforting even, that the authors and the genre and my life and the lives of my peers have evolved in parallel to whatever extent is possible, staying to some degree mentally compatible to, again, the degree possible. Meaning, in other words, can still be derived, and more so from the more recent texts where the old ones now hold largely romantic-melancholic-comforting value, backward looking instead of focused on the present (let alone the future, but which sci-fi author would ever presume to write about the future anyway).

If you, too, obsess about the things mentioned above, do read Flavor. It’s a quick, enjoyable read, that invites looking back and revisiting former selves and expectations of present and future. Recommended!

*Update: According to Wikipedia, Gibson was 36 when Neuromancer came out, whereas I was maybe 15 when I read it and am 32 now, so my time references were way off. The point still holds true.



AKB48 is, according to Wikipedia, “a Japanese female idol group produced by Yasushi Akimoto. The pop group has achieved enormous popularity in Japan. It is also one of the highest-earning musical acts in the world, with 2011 record sales of over $200 million in Japan alone.”

Licensed under Creative Commons Attribution 2.0 Generic. Source: Wikipedia/kalleboo

Before my trip to Japan I wasn’t aware of the group, but the system is friggin’ brilliant, in a very Gibson-esque, or maybe more Sterling-esque, way. Allow me to quite Wikipedia some more to give you a better idea:

AKB48 holds the Guinness World Record for being the world’s “largest pop group”. Currently, it consists of four subgroups: Team A, Team K, Team B, and Team 4 with 16 members each, summing up to a total of 64 girls. There is also a number of aspiring members, who are called “kenky?sei” (“trainees”). The member lineup often changes; when girls get older, they “graduate” from the group, while new members are cast through regularly held auditions. Having several teams not only allows the group to reduce the load on its members, since a daily concert at the theater is given by only one team, but also gives AKB48 opportunity to perform in several places and even countries simultaneously.

Licensed under Creative Commons Attribution-Share Alike 2.0 Generic. Source: Wikipedia/kndynt2099.

In other words, it’s a huge operation, with enough members to target any niche audience, be it ever so small. The graduation mechanism allows for (theoretically) unlimited spin-offs, so new members are lined up at any given time. The internal competition modes and merchandise sales should be a money machine like no other, and the high number of members also allows them to leave the traditional paths of “touring” with all its physical and regional limitations. Getting the audience involved both in terms of meeting band members (which is easy for the band, as there are so many members, and slightly harder for the audience as tickets for AKB48’s small trademark live gig at Akahibara are given out by lottery), and in terms of voting mechanisms: Fans determine in “general elections” which of the members are involved in recording new songs etc. I can only assume that the voting mechanism are charged for in some way or another. The potential for upsell is ludicrous, but there’s more to it.

It’s post-something, that much is for sure, and very much hits a certain flavor of the zeitgeist. But post-what, and pre-what? Pre completely computer animated, personalized artist-avatars, maybe, and maybe just post-human in the more traditional sense, or at least post-individual. But that doesn’t quite capture it all. There’s something going on here on many layers that I can’t quite put my finger on just yet.