![]() ![]() ![]() However, drawing upon such a disparate source of input looks to be one of Lamina1’s more significant challenges. Stephenson seems well aware of Lamina1’s possibility as a counter-cultural metaverse ![]() The white paper puts significant emphasis on how the project intends to foster a “large, thriving and engaged community” through online spaces such as Discord, Twitter and Reddit, who will be looked to for the design and tooling of Lamina1. This perspective is a breath of fresh air in a technology space stagnant with monopolisation, and Neal cuts a sympathetic figure to those that wish to realise the potential of a nascent internet that seemed so limitless when Stephenson was first writing. Stephenson seems well aware of Lamina1’s possibility as a counter-cultural metaverse, imploring creators and consumers alike to align themselves with Lamina1 in order to fight for agency and ownership, an economy that facilitates creatives and allows them to access their market directly without going through publishers or financiers. Although it makes no mention of Stephenson’s fictional history, lacking the VR headsets and digital hub around which Snow Crash was centred, the goal speaks to its message Stephenson’s repeated desires for a decentralised digital community unbound from market forces. Lamina1 aims to use blockchain technology to hand power back to the people, giving online communities the tools and infrastructure to build their own, more immersive internet. Neal Stephenson seeks to upend the misunderstanding of his work by presenting an alternative form: Lamina1 The parallels between this, and Meta’s own growth from a consumer focused social network to a monolith of algorithms and data collection are uncomfortable at best, and paint a bleak future of Meta’s idea for a monetised virtual world. Initially a hackers’ playground, Stephenson’s Metaverse ultimately becomes heavily commercialised, overrun by digital billboards, and controlled by corporations. Stephenson’s Metaverse ultimately becomes heavily commercialised, overrun by digital billboards, and controlled by corporations ![]() But by adopting its name, Meta has perhaps jumped the gun Snow Crash is very much a cautionary narrative. Snow Crash is the root of a lot of contemporary visions of virtual reality, from goggles and body tracking, to digital currency and customizable avatars. The name ‘Metaverse’ is a creation of Neal Stephenson, who coined it in his seminal work, Snow Crash, as the name of the embodied digital world in which he set his story. Whilst Mark Zuckerberg’s stated aim is to “bring the metaverse to life and help people connect, find communities and grow businesses,” the realisation of the metaverse in this form brings about an unwelcome sense of déjà vu. A century of Italian drawings from the Prado, Chicago, Art Services International, 2008, p.To people familiar with science fiction of the early 90s, the rechristening of Facebook as Meta was an ill-omen. Turner, Nicholas, From Michelangelo to Annibale Carracci. Given the similarity of the Prado drawing to the one in the British Museum, it is not impossible that they were both made for the same purpose. Leone de Castris has tentatively connected the British Museum drawing with the temporary decorations erected in Messina for the triumphal entry into the city of Charles V, in 1535. The handling of the chalk and arrangement of the studies side by side, horizontally on the same level, recall a drawing of a River-god and a Muse in the British Museum, London, formerly in the Lempereur collection (-742 Leone de Castris, 2001, p. Judging from its style, the drawing is datable from the artist´s period in Messina in the 1530s. The reverse shows, to the left, a figure, seen from the front, its head and feet cut off by the bottom and top of the sheet, respectively and, to the right, an architectural study, with what appears to be part of the elevation of a facade containing a window or door. The drawing represents a lion seated in profile towards the left, with the upper part of its body raised up and supported on its front legs and a bull pawing the ground with its right hoof. ![]()
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